Piezography gradiant banding and gridlines in prints - Epson 3880


Epson 3880

I’ve attached two images to display the issue I am talking about. The first image was using QuadToneRip on Windows and the Second was using QuadToneRip on OSX. The only difference in settings between the two was selecting 16bit for the OSX version. Nozzle checks come back clean.

I chose this image to demonstrate the problem. This is supposed to be a smooth gradient around the moon, but there are weird jumps in tone. I saw this in similar transitions on other images.This happens in both split tone or single tone images.

Additionally on glossy prints in areas of smooth tone I can see a bit of a grid where the ink dots are laid down. You can make that out in the images as well.

In this case I am using Canson Baryta Photographique with provided community edition profile for Pro inks.

–QuadtoneRip Settings–
Resultion: 2880 dpi
Speed: Uni-directional
Black Ink: Photo Ink
Dither Algorithm: Ordered.

–Image File–
Format: TIFF 16bit
Resolution: 360px/in
Source software: CaptureOne

What is going on here?

Maybe the gradient banding isn’t the printer’s fault? If I open the exported image files with anything other than CaptureOne or Windows Photos, it shows the same problem as my prints. Not sure what I am doing wrong though. I am not pushing this file to far in editing. The gradient actually isn’t edited at all, just atmospheric haze.

It may be a a questions for the folks at CaptureOne. If you are using ProPhoto RGB in CaptureOne, it is a color space that is far greater than a human eye, or a display, or a printer can produce. Is there some possibility that you are using ProPhoto when instead you could be using AdobeRGB 1998 that the human eye can see, some displays are capable of producing, and most of which can be printed?

Perhaps try converting in CaptureOne first if you are in ProPhotoRGB.

my two cents worth…

Rachel - IJM TechSupport

That looks like quantization error to my eye. While you are in 16 bit, is there any chance you’ve converted from the image color profile more than once? Like ProPhoto->AdobeRGB->ProPhoto? Or something like that?

I think I figured something out. There are two issues I have found.

Calibration target was using wrong color profile
I edit my photos in CaptureOne and export files as a adobeRGB 16bit TIFF to send to Affinity photo for prepping for print. That image file has the adobeRGB color profile associated with it so Affinity opens the file with that profile and reads pixel luminance values as intended.

However, when I was printing the calibration targets, I sent them straight to AffinityPhoto. Since there was no color profile associated with the original TIFF file, AffinityPhoto will apply a different color profile, specifically Greyscale D50.

AdobeRGB and Greyscale D50 will render the tones of the darker values differently. Greyscale D50 will render the shadow values darker, but highlight values are about the same.

I was linearizing my profiles using a target that was converted to the wrong color profile and I had no idea. What I was calibrated for and the images I was printing did not match.

My linearized quad has issues
I printed a gradient strip using my custom profile and compared it to the out-of-the-box Master and PtPd-dev profiles. My custom profile shows a visible jump on the DN for the values in question where the Master and PtPd-dev profiles do not. Something clearly has gone wrong during my multiple iterations of calibration.

This jump is visible on a continuous gradient (and likely gets worse with a sharper contrast curve), but is not visible on my 129 step calibration chart. I’m not entirely sure why that is the case. The gap between squares might be enough to make it hard to see with my eyes and my Spyder Print Spectrocolorimeter is not the most accurate or consistent with reading my test prints I have found. So that jump may have been overlooked.

New plan:
I’m going to start fresh by printing a 256 step target that was using the out-of-the-box PtPd curve and calibrate using the Piezography Professional 2.2.1 tool. I was previously using the 129 step target with the 129 Step PiezoDN CGATS Smoother tool. I think the Physiography Professional 2.2.1 tool is newer and more advanced?

Oh and the target file is going to be first opened by Capture One then exported before opening in Affinity photo. That way the file goes through the same exact process I use for my photos.

Hopefully this does the trick!

DO NOT OPEN NOR ADJUST THE TARGET FILE IN ANY WAY, NEVER, NOT EVER!!!

oops, I’m not supposed to shout here on the forum. But that needed a good shout.

  • There should not be any color profile associated with any of the Piezography target images.
  • They are originated without embedding a profile.
  • They should never be converted nor edited.
  • They are used purely for printing from QTR without any color management whatsoever.

Pure linear grayscale values are printed and measured and then later they are compensated for in the PiezoDN (or PPETv2) software to create a curve that produces the same separation of gray values and expectations can be met when printing digital negatives.

Digital images on the OS X side can be color managed during printing for several purposes. They can NOT on the Windows side. Windows QTRgui passes through actual grayscale values 0-255. OS X QTR can pass these through or it can be used to modify those 0-255 values.

There is only one method of printing with Windows and it does not include color management.

There are two methods of printing in OS X: Linear and the Contrast Match method which does include color management via an additional ICC profile.

You may need to download a fresh copy PiezoDN so you have an original target without any embedded profile. Then open the target in QTRgui and print it with our starting PtPd curve which is pre-limited. Expose, Process, Dry, and Measure. Create Curve. Open an image in Qtrgui and print it with the created curve. It should appear normal.

Anything different than this workflow may or will introduce unexpected results. You cannot calibrate for that with our system, and trying to adjust for that will disrupt the quality of the PiezoDN negatives.

How you image is different than how you calibrate. It’s not actually related. You image until it looks good. You save the file. It passes through on QTRgui. In OSX any embedded profile is taken into consideration because OS X is nosey and obtrusive. Therefore - PrintTool for OS X is mandatory now with QTR. There color management can be turned on or off and ICC profiles can be added to adjust contrast etc.

For you right now, start with the purist approach and then gradually add in variables one at a time until it is disrupted and back off or revert to a pure Piezography recommended workflow.

I trained on the PPETv2 tool and it is much easier than PiezoDN. Jon taught me to do it three times. The first target measurement from the starting curve roughs in the calibration and produces the first NewCurve1. The target is reprinted with NewCurve1. In PPETv2 Starting Curve is now NewCurve1 and the new measurements produce NewCurve2. Then NewCurve2 is used to print the final validation which should be really very linear. In PPETv2 Starting Curve is now NewCurve2 and the measurements if you find a little improvement is warranted create NewCurve3 or named as a final.

I was also instructed to Save a copy of PPETv2 for each calibration stage in order to keep a record of my “mistakes”. I find helping customers that that should be a standard practice. Keep all the copies and measurements in one folder under the date or media name or however you organize your workflow.

You can use contrast mapping in PPETv2. It is a manual adjustment to your final curve that will convert the linear curve into whatever contrast at the shadow end you prefer in order to produce prints that match your display. The pure linear calibration works better for those who use hardware calibrator displays at about 250:1 contrast. This type of display should visually and easily differentiate between all 256 steps when you open and display a 256 step target. If the shadow end is all quite dark and difficult to see, you can use contrast matching. The curve you end up with has the contrast matching embedded into it. It can be used in QTRgui or in OS X without CM to get its effects in the finished print. All that is in our documentation.

I hope everyone reading this can gain some valuable information.

Let us know how it goes!

Rachel