[I]Just checking in to see if the new PiezoDN QTR curve(s) have been released yet?
Not yet. We have it working internally for Palladium/PotassiumOxalate on four papers and three printer variations (1430,3880,4900,and 9900 upcoming) on Selenium K6 ink + GO. It will enable self linearization and profiling of darkroom negatives for those with a spectrophotometer. The only catch is that limiting neg density will need to be done in either photoshop (a 2 seconds worth of labor by adding a straight line curve or levels adjust) or by us directly in the .quad (for those who can send us LAB* measurements this procedure will be very inexpensive. For those who send us full targets and .quads to linearize, this will be like our normal custom profile price). Roy’s linearizer does not do density limitations inside .quads.
[I]Are you planning on revising the piezography manual to include this new process or a separate workflow write-up? [/I]
Yes!!! This is what the hold-up is about because we want to make sure the documentation is there so we have enough time to continue R&D for other mediums instead of answering questions. It will start out as a seperat workflow write-up and gradually get into The Piezography Manual 2016 Edition once we do some revisions of that.
Do the new PiezoDN curve(s) utilize all K6 inks (not counting / including GO); as in how do the K6 inks behave in the UV spectrum?[/I]
They utilize all K6 Selenium Inks. We have reformulated the selenium inks and master-curve building over the years from their beginning (when we first started dig-neg) and we are now able to do 1-6 printing instead of using shades 2.5 and 4.5 like in the past. With printers that have more than 6 ink channels, we are building the curves with GO that prints at the same time as the negs. This hardens the negative and protects it when doing full editions. It also acts as a small static deterrent. This is such an upgrade to the negative-making process we are making GO a requirement. It utilizes only 10% or so but that still makes a huge improvement.
The amazing part about these curves and how they interact with the ink and OHP for Palladium (and soon Platinum) is that they ramp up in density quickly for the shadows and ramp down quickly from white to the lightest gray. This control of density happens because we are printing between 3 and 5 grays in these tones at either end of the ramp. This enables the 256 density separation.
Also, because the darkroom-print shadows are actually printed highlights and because those inks are variably less then what you would print on paper (for the paper printed shadow areas), the shadow details are MORE ARTICULATED in a platinum print from PiezoDN then you get from even a Piezography print. Go figure.