Jose Rodriguez Photo Printing Techie Sunday Live Stream 1PM EST USA 12-19-2021

we're live [Music] [Music] me so [Music] um that was nice i like that i've been finding all this awesome music to put on my entry of the live stream but anyway uh the week was wonderful uh except for one thing nathan's school all of a sudden uh got a spike in internal covet cases they sent an email to the parents and they said hey if you want to pull your children up prior to christmas vacation you can so guess who get to watch nathan we had a sleepover for two days it was awesome so anyway today we have our good friend richard bender from hagerstown maryland that's in the western part of maryland for all of you who may not know where that might be and he is a photographer teacher by lee i believe he said from gaither's um petersburg no hagerstown community college and it's a class for senior citizens like me who have never even used a digital camera apparently so that is really awesome it opens up a amazing new world to people like me i mean i i started doing digital back probably probably a little ahead of them around the year 2000 that's when i got my first computer i remember uh the fears that we had about the year 2000 kicking in and all computers were gonna die explode or something anyway let's say hello to some of the folks that we already have here we have 14 already waiting on the isles henry stoffel was here early i believe he came in around 12 51 so that's not too bad anyway he ha he says happy holidays from chile medford massachusetts epson p800 oem inks and key image ultimate and i tell you what i'm going to talk a little bit about that thanks for mentioning that i'm going to talk a little bit about what i found out about the p900 because it's very similar mo if you will to what occurred with the p800 here in the usa i'm going to add that to my topics but we're going to give the show to richard and as long as he wants to hang out with us i will talk about my topics later on if we have time left uh jerry uncle uncle jerry as we like to call him from selkirk manitoba canada pro 100 pcse rick johnson modified cartridges yeah broken record here q image ultimate that's a great combination to have miss wendy from belgium pro 1000 brand new by the way oem inks and cartridges we have rudy from la and he is the creator i don't have it right here with me i put it away i clean i actually cleaned up yes i did it was a mess down here i actually cleaned up because i ended up having to do some more plumbing work in the ceiling and so i had to clear out some of the area here so that i wouldn't get a mess of water all over them but he is from la he actually creates 3d printer holders for the cli42 and the cli what is it 65 cartridges they click on also cli aids they click on in order in the proper order of color so that you can then fill them as if you had a third hand it really helps the process and then of course if you want to store several sets of ready to go cartridges you can use those holders to do that he has all kinds of other ideas as well emmanuel from france and uh he has a pro 300 with inkowl inks qmh1 so apparently he's using probably a mac maybe and so awesome again the best thing to use for printing i'm telling you as far as i'm concerned i don't know about everyone else maybe using other sources but i usually you know do my editing and then export to qms just simply because of the way that it outputs harold goldberg rainey oh no rainy richmond yeah i was raining here as well and it's still kind of crappy looking outside richmond virginia pro 100 pcse rick's clean cartridges and rudy's holders there you go oh emmanuel says i learned from your teaching well we're going to have someone else teach us today some stuff i cannot wait gregory have you been here with us before gregory if not welcome my friend toronto canada pro 10 pc inc and key image ultimate busy today from winnipeg winnipeg canada canon pro 100 rick johnson modifies again broken record everybody's using that combination all right i think that's about it we have 19 those of you who arrive after we begin to talk with richard go ahead and post questions you may ask as you listen to what he's going to show us today have any questions do not hesitate i'll be monitoring the chat and i will pop questions up i'm sure richard can also see the chat maybe as he is um partaking in this little get-together so let's bring him in here he is familiar face to some of you maybe how you doing richard how are you i'm fine thank you hello jose and hello everybody else and uh i'm glad you could make it with us your camera back there uh uh do you see a nikon d300 yeah and uh i i have two cameras back there to to talk about a little bit if we really want to get into some a brief discussion on camera calibration i have a couple of cameras that will give us a good clue of what what i'm talking about yeah that i i brought that up just earlier before we came we got you know went live because uh there was a talk on my facebook group about reproduction of art and again it depends what kind of art you're reproducing whether you have a physical painting on a on a wall being lit evenly by the proper temperature light source and of course you're using a camera to shoot that and you expect that the colors that are reflected back whether it's an oil painting a watercolor painting a charcoal drawing or whatever it's reproduced accurately because it's not like going out to shoot as a landscape right richard you can you can manipulate that as in any way you want and no one's going to ask you well let's take that painting over to that location and see if it matches at the same time of day same day of the year of course not but art is different art needs to be accurately reproduced so you know that that's where camera calibration might come in right well camera calibration has to come in at various temperatures during the course of the day yeah because the your camera meter unfortunately not all camera meters are up to standard and even in higher price cameras so what we normally do when we first get a camera in a in a classroom situation is calibrate all of the cameras for daylight for hazy light for night light for overcast light because the meter will generally produce a good reading in a cloudy day but it will not necessarily produce the right reading on a bright sunny day now wait a minute some people may actually be going like what the hell are you talking about we only know about monitor calibration we only know about like some canon printers that allow you to internally calibrate them we only know about icc profiles and they call that calibration as well mistakenly but you know what i mean we're talking about these types of gadgets that are used in at the location of the shoot correct yes but we're also talking about something else in addition to that okay all right awesome let's continue on okay uh what i would like to discuss briefly today with you is uh as you probably know i've been scanning negatives that i have that range from 30 years to 120 years old and uh actually 135 years old now wait a minute you didn't shoot those right i i are not yours some people think that i did but no i didn't no i don't think so you don't look that old so after i scan the negatives i was making attempts to colorize them and actually this is a whole holdover for my mother because my mother used to water pencil black and white prints i don't know if anybody is familiar with that but she had a certain pencil set that she dipped in water and then rubbed them on the prince and she used to do this way well back in the 1930s and 1940s and so i got to thinking several years ago that it would be very nice to try to colorize some old black and white prints that used to be a pretty common that was kind of a common occurrence i did see some prints that had been hand colorized yeah that was very common in the 30s and 40s not even in the 50s even in the 50s but since we have the availability of photoshop and other editing programs chances are that it would be a little bit easier today however up until about two years ago maybe not quite two years ago but maybe two or three iterations of photoshop ago it was not so easy as it is today so what i'm going to do is to take you back in time a little bit and show you what you had to go through to colorize a negative in photoshop maybe two years ago in comparison to the way you can do it today and for that of course i'm going to have to share a screen so all right we're going to prep it i'll bring you in uh how do i do that share screen and then just choose uh are you do you have two monitors or one i have two of them okay and then choose the monitor that you're gonna be demonstrating that technique on i should be able to pop it up once i see it pop up let's see i like it apparently i can't um so go to share screen share and then choose where what source you want to share from you've done that before yeah i know but for some reason let's find out what's going on here there you go uh i think you i well yeah you see me but we don't see where i'm going the other screen how about now there you go okay and we have you oh wow this is a uh what i'm gonna make this full screen so you will not be seeing us yeah no don't have to look at me all right this is a negative that's 48 years old and um my daughter was a model modeling some clothes at that age and um this is i'm going back now a couple of years of what you would have to do in photoshop in order to colorize this negative what you would have to do is to go into either into a color chart or go on the internet and find different colors that you would like to put into the image for instance i i have a pretty good idea of what her skin tone is i really don't remember exactly what the brick tone is or what the floor tone was i can pretty well un estimate that the the bushes here were green and there was some green edge here and maybe here's some more green trees but um you really have to guess on the appropriate color i don't remember at all what color the the dress was have no idea at all what the color of the dress i'm pretty sure that the color of the shoes was black and then her socks were white and that her blouse was white so with that information what you would have to do is go to the internet or go to a color chart and pick out the colors that you'd like to use and what what i what we did that way is i made little color swatches you can see the green pop up here and then here is the color that i picked for the brick work that popped up and then here is the color of her dress i'm picking a very dark a very dark blue and as far as her skin tone is concerned uh i've sort of gotten that match as a skin tone and then for the blouse sorry for the post here for this white post this is the the color that i picked out and so you see how you can pick out these different shades here's the floor so here are the different shades that i've picked out in order to reproduce what i need to do on the image now there are several ways to go about this of course the first thing you would do is to take an eyedropper tool and and sample the color which i've done you can see the color here and then open up a um a brush palette that you're going to use you don't really want to do the colorizing on your uh on your photograph now you're basically you're creating layers right i'm creating layers and your layer whatever that i'm going to use for the color is a separate layer for each color now in order to get this done i not only have to pick out a separate layer but i have to change the blending mode normally you would be in normal mode so in this case you would switch the color color mode and the reason you do that is because you're preserving the luminosity that exists in the black and white correct if you just had if you kept it on normal you'd obliterate you can see this is normal and it's just obliterating the color in the background okay so uh let's suppose i wanted to uh colorize the brick work so i you could do it one of two ways you could do it freehand or you might want to you might want to select the brickwork which i've done here and after the brickwork is selected make sure that you're on the brush level and you switch to of course a brush hold on richard i don't know if everybody can see the fact that there is a bunch of little ants walking around the edge of that selection yeah we've just selected this brick that is isolated now from the rest of the image right and we by doing this you don't have to be very careful you can just paint very quickly right and uh and paint over the image uh i'm not going to try to be too careful here today just to give you an idea of what's going on but when you pick the brush uh we pricked the brush tool and uh let's you can see the little round piece let's make this a little larger and since i have the uh the color of the uh of the brickwork on the color palette here on the left as you can see i can start colorizing the brick and i can do this rather quickly because i've isolated the uh the brickwork so there's my selection on the brickwork because of the blending mode you chose right yeah luminosity in the background as you see you can still see the brickwork right now taking the crawling ants away just control d i would open up a secondary brush area which is our which i'll let's see i'll call the floor for well maybe we'll call it skin so we'll see what we can do with skin tone and it's very wise to label these layers otherwise you'll go crazy and so now i'll go back down to my skin tone down here i've got to find it again here it is oh my skirt sorry about that skin skin skin that's the floor ah i labeled it face okay so this is the color that i'm using for the subject's face and once again i would go to the eyedropper tool and click on the color and then go back to my brush tool and then go to the skin palette and let's make this a little smaller now richard go ahead and sort of move your cursor over to after you selected the color with your eyedropper over to the area that actually shows the color usage selected down here right there right there right there so you have that little square now represents the color you selected correct right that's the same color that's in this box so now i'm going back to a a separate palette this this was the palette of the bricks if i turn it off and turn it on and now i'm on a separate palette and without still i could select the face but basically this is what it's happening now you see this is what happens if you don't uh change your blending mode from normal to color but once you change it to color you protect the luminosity and then you have the face tones that you remember as being proper face tones this is all out of memory and you could you could feather that brush if you want to have a less sharp edge yeah this is a thing yeah this is a very uh uh this is not a sharp edge brush at all okay yeah this is a different type of art that is applicable now that we live in the digital world he would have to do that with colored pencils yeah by hand yeah and that's what my mother used to do years and years ago with colored pencils and i remember her doing this it took hours of work to do that now this is uh of course i'm coloring this in without doing a selection so there's a little overlap here okay and the same is true of the floor i have a color for the floor and um i'll do this one and then we'll go on to another aspect of what is possible in photoshop this was the old way to do it all right here's my floor there is the swatch for the floor and now i'll go up and create another layer and call this floor well maybe i'll call it floor 2 because i already have labeled something for and i'm going to take a an eye dropper look at the floor tone which automatically changes it here in the uh in the color check in the color swatch you can see that and now i go to the brush tool make sure you got the right brush tool which is this one right here and i must change normal blending to color blending and now i can start colorizing the floor before i do that i'm going to close your swatch i'm going to take the little swatch away uh and and you can see let's make this a little bigger i could again i could um i could select the floor uh you know from what i'm seeing in some cases you don't even have to do a like a pre-selection unless there's something very you know intricate that you have to have an ad this takes work yeah this takes work i'm just doing it this way because i don't take the extra time but you can see around the shoes for instance i have to use a very small brush right right in order to get in there whoops and uh it would be much easier if i just made a selection now you're using your bracket keys right bracket left and right bracket cleat keys or shrink the brush yeah yeah in the case of a black shoe actually i can go over a little bit nobody noticed the difference but uh normally i would uh i would make a selection so there you see now we've got we've got the skin tone we've got the uh the bricks we've got the floor and we do the same thing for the sky in the background for the grass right we're here so this is a time consuming thing so along came uh a few actually a few competitors of photoshop a few years ago one of them is um oh gosh i've forgotten the name of it it's a two a two letter company um and they came out with a method of of uh with artificial intelligence of coming up with these the information based on the luminosity of the black and white now i'll tell you okay i'll take you through this and show you what this actually does um let's switch to a different black and white negative this one is 50 almost 57 years old and in this case the negative has has sort of changed from black and white to a brownish white if you can see that i don't know if you can see that over the internet yeah and rather than change to desaturate the negative i decided to try to colorize this without doing that just to see what would happen now a couple of iterations two or three iterations ago maybe four iterations ago of photoshop they came up with an artificial intelligence of colorizing images which wasn't really very good but lately on the current iteration it's really terrific if you go to the filter menu and then go to neural filters in photoshop and you have to make sure by the way that when you scan your negatives you scan them in color you scan your black and white negatives in color right because otherwise you can't add any color to them so these have been scanned as color images but they're black and white now you would go to the to the categorize category here is colorize and just click on it and let's just sit here and be amazed down here is photoshop doing its thing so it's not it's basically analyzing the image oh look at that there it does so crazy photoshop analyzes the image and they base what base all the other colors on skin tones okay based upon the luminosity and the skin tone now i remember the child's uh shirt that he was wearing that day and this is accurate this is actually the color of the shirt [Music] the only thing that i i that i like to do when i get the the initial uh the initial iteration here is to boost the saturation just a little bit which i do and we'll get another we'll get another look when it switches you'll see there we go and that that's an acceptable color negative now the the lower right corner where her shoulder the bare shoulder yeah this has to be wearing she's wearing a thin strap top here's this that area like has i don't i i think the ai sort of had a hard time figuring out what that was you've had a hard time figuring out what to do here yeah so what we have to do is we have to take a sample of her skin tone and dig awesome and painted in which is not very difficult yeah but everything else looks pretty good everything else is acceptable so what we would do in this case is we'd accept the image which i'm doing now and that was that choice in the filter tab that was neural neural filters neuro it's the third filter down gosh i've never even seen that and i i'm up to date on photoshop yeah i'm going to have to check that out yeah if you have the current version this is yeah i do all right so the first thing i would do here is create a another layer and call it because we're trying to fix her out whoops let's do that again we're trying to fix her arm and i would need to take a uh a sample of her skin which again we do it the same way we just go to the eye dropper tool and take a skin sample which is reproduced here switch to color instead of normal and now i can control the value of the skin tone with the uh with the opacity slider i don't like the way it comes out so let's just try it and see how this works this is a highly feathered brush a soft brush and this is the this is a direct reproduction of her skin tone on her neck you can see it's kind of bright i think what's happening is that the there's a lack of uh skin detail there yeah when you look at that region there that's probably blown out a little bit yeah it is so yeah it's trying to control this a little bit and see what happens if we lower the opacity yeah there we go that's a lot better wow yeah had you not told me you did that you know i would have accepted it as what the application created you know from scratch right yeah and that's basically all there is to it now from this point on you can merge layers if you you know like to do that or you can save this and then merge another copy so that you you have all these queries when you need them now everything is still there i like the fact that that photoshop puts these in layers because if you go back to the original image here is the part that's been colorized by by me and uh you can turn things on and off hmm so yeah now i know what i'm going to be doing this week yeah yeah this is what would happen question and you know maybe you've already explored that what would happen if okay it recognizes human beings faces yeah faces in a landscape type environment you know in a in a outdoor environment how would a how would a tackle like analyzing shapes that look like trees foliage guess what i have seen green to it guess what every purple i have a sample i could show you i must have i must have read your mind then okay let's jump in this is a shot that's kind of difficult for ai and um well the couple of problems here the first problem is that we have to too much detail in the background so i would really like to to blur out the background a little bit now obviously you know that there are there's there are ways to do this and one of the ways is to select the images and uh invert the image inverse the selection and then blur out the background you can do that yeah but guess what part of the neural filters is blur out the background and i've already done that so this is what it looks like after i went through the neural filter oh okay yeah now i could have blurred the background completely but you have a choice under the neural filters of blurring out just a little bit or a lot or whatever the case is and it's it's a terrific filter it absolutely is but this is what i chose to have a little bit of um of the background blurred out so that looks like you know you shot it with a semi-long lens large aperture you know using 85 millimeter lens it was an 85 millimeter nikkor lens okay now you're going to have some problems here i can see already in the black and white image when we go to colorize because the luminosity is i can see it on my monitor i don't know if you can see it on the internet but the luminosity of the shoulder area here is not the same as it is up in here and i've already gone through the colorization in photoshop so that we don't have to do it again here i'll just light it up so here's what happened this is the color of the shirt and you can see what happened up here yeah and here look at the background the white of the boat is here but it's yellow over here mm-hmm so all of it is it doesn't it cannot figure out that that's actually part of the boat that's right that's right and so it's absolutely fantastic on portraits but it gets a little bit mixed up when you have a background to work with now in this particular case there was an awning back here that was blue so that came out all right and the blue sky is sort of a funky sort of a blue sky and the buildings are a little bit blue but you can change all these colors and you would have to by going into the colorizing process that we just went over but with a little bit of work it can be done and it's and it's a lot simpler than it used to be you know right a couple years ago would you would you recommend um for anyone who is contemplating doing this like for a living or whatever um that they learn what it used to be like before so that they get they have a very good background as to for example when you're when you're correcting the problem with the right side of the boat versus the left side of the boat well you would have to know how to create masks you would have to know how to use layers you would have to know how to select that you would have to know how to do all of those manual steps that you had to do prior would you recommend that people learn what it you know the hard way first before they get into this pretty much automatic well actually you know having that background would help you make a little correction here's why it really isn't necessary to go 100 backwards because you're going to need to do exactly that on just about all the images that you transfer simply because photoshop doesn't know what to do back here right you're still going to have to pick some color of your own but what i can do in the if i recognize the color in the foreground i can use that very easily to make this correction the background i probably will pick this white and introduce it into the rest of the boat correct that would be the easiest thing to do what to do with the building back here well i might there's a little bit of a fringe here of a gray roof to a bluish sort of a peak of the roof i would probably want to change that to be gray in this area and in order to do it guess what you you always can go over to your color checker yeah and pick a pick a shade right and that way you'd have to just open up a swatch to do it and what i like to do is i like to open up separate swatches in the photograph itself because then i can control these swatches by reducing the opacity the opacity and using different opacities as i make changes in a you know in a background scene so you really have to do that you don't have to go backwards 100 you can use ai to give you a good head start basically yeah and then go backwards a good let's just say a good start a starting point a really good start and in this particular case uh whoops wrong place didn't want it there uh if i wanted to fix the the shirt of the girl this is relatively easy because the luminosity of the negative of the black and white controls the actual quality of the color up in here you'll see what i mean if i go to the brush and i'm going to make this brush a little bit smaller and just going up here forget your blending mode yeah that's all right okay that's all right you can get that anytime yeah um just going up in here and making that correction yeah that's nice and you can't tell yeah see that yeah and down here of course is equally as easy and you notice that in the shadow area you do get a darkening of the same tone right the same because of the luminosity effect the same hue i guess you can say but at a different level of luminosity that's correct yeah and so there you go and i can even make get this a little bit better color right there in the front of the shirt as well yeah right in here yeah yeah so that's awesome uh to keep to keep this up just to give you a general another general idea let's open up another layer and take some information from the boat this is a it's a good white that would be good for the rest of the boat and down to the brush and i might i'll tell you the truth let's go and make a quick a small selection let's make a small selection in here so we can get it done all right let's see if i can get no a little bit too much here all right i'll tell you i wouldn't have done it this way let's just for just for example purposes let's use the polygonal tool and we'll just make an outline here and just give you an example now you can also adjust the uh edges of the selection to be more fuzzy if you will right yeah well i yeah about a two pixel fuzz yeah a feather from two pixels better and um so we've already picked the uh the color of the boat we go back to the brush tool and uh and it goes now that matches this color but it looks to be a little bit bright so i might want to go to the opacity and bring it down a little bit there we go and i would do that for the rest of the boat yeah so you can pick the colors that are available available to you in the in the image itself and for the ones that you don't know yeah then you go to either go to the internet and look up a scene let's suppose you have a landscape you might say i i'd like to see a landscape with the hay in it and you pick out a hail landscape and then you choose some colors from the hay landscape and you just incorporate them in the photograph what would have happened i don't know you probably did it before you blurred selected the background and blurred it what would have happened with that original sharp background what would the ai have done or attempted to do well it did that hey i did this okay no no no i'm saying but you you did the oh you mean before you blurted remember go to you would have a problem with that so i'm going to select the background and blur it to help it along i guess you could say well i actually what i did is i blurred the background first and then i colorized it maybe the question is what would have happened like what would have struggled you know maybe maybe the question is this what would have happened if we colorized it first and then blurred the background i guess yeah all right let's give it a shot so we can we can just delete the just delete all of this here's my original image yeah what would happen if you colorize it first yeah we're gonna do that well we'll do it uh we'll go into neural filters because i you know most people probably wouldn't have guessed to do that unless they have some kind of background in this type of uh notice what ai does notice what ai does picks out the facial tones in the image automatically all right so we're going to colorize the entire image first this time this will probably take about 60 to 75 seconds in order to i wonder if they were ever going to implement oh wow that's not that horrible no actually this is better yeah the color in the boat here is a lot better yeah it's missing a little bit down in here wow so it's really it's really doing a tremendous job yeah it did a terrific job it knows that sky yeah it assumes it's going to be cyanis bluish um wow still the same problem with the with the show yeah yeah of course yeah now let's go and look at the color of the side of the uh the building it wasn't this color before it was blue and here it's grayish before it was blue so it actually did a better job by colorizing the image first well i'm glad you mentioned that jose from now you know you know what i always tend to say is like who's gonna say where richard take me back to that original location because i want to analyze if you yeah no one's going to do that yeah as long as it looks natural and of course now you can't it's 50 years later you can't yeah you know so let's go to the depth blur at the moment and give that a shot and see where this is every normal setting this is the normal setting of the of the blur strength and you can also adjust the colors of the tins and so forth of the photograph so every every time you see change in parameter you just wait for the processing to be done yeah here it is it takes a circle see the process that's going on down here and that depends on your computer yeah yeah which this takes a little while it does depend on the computer but regardless of the computer the the the blur depth it takes a longer takes longer than the colorizing does so you just have to sit here and be patient but i i like the colors that it reproduced colorizing first i like that a lot yeah and uh this this negative is uh this is 50 now this is 48 years old and it's um way to go this is in this general area of the country maryland in britain bank new jersey okay red bank new jersey my father-in-law had a boat there yeah all right so uh we can talk about something else while this is going on and maybe we ought to talk a little bit about camera calibration while we're waiting one of my favorite topics is camera calibration because most people think that when they get a digital camera they can go out there and start taking off i'll keep an eye on that i'll keep an eye on that and i'll put you full frame here so you can talk about and why it is really something that people should start to consider using incorporating into their workflow yeah because a lot of people have no clue what we're talking about and i don't mean to be you know but oh wait a minute we've already we've already gotten now we're done yeah yeah now for instance this was this was the background as was the uh the normal type of a blur strength let's increase it let's increase it and we'll see what happens so we're increasing the background blur but you notice that the color has been has been changed yeah yeah i see that and this is this has been changed as well all right we're almost we're almost finished there we go so the background is now a little bit fuzzier than it was before let's give it another shot so when you when you do that it's going to reinterpret the coloration right only of the background only in the background right yeah well but you know what you could do is you could do a uh you could create a swatch of what the building was before it was blurred oh okay so um well that's a pretty good separation that's actually pretty nice color of the blurred building in the back yes it is it's not bad i i would i wouldn't have never guessed well you know the girl's shirt obviously but yeah i would have never guessed that this wasn't a color image from the beginning but you know you know what really is nice about this the selection of the hair i know is fantastic yeah without you we're not having to make a selection it's absolutely fantastic let's go a bit further and see what happens nice to play with this is a nice filter so i see something there called landscape mixer yeah yeah well i'm going to play with that because a lot of my stuff happens to be without any human beings in it okay well you can make that i'll tell you this one up here the first one skin smoothing yeah it's great for modeling for models you do a model portrait and then smooth skin fantastic okay actually this is a very nice this is a very nice separate that's a very nice separation i like that so i'm going to keep it active so click on ok and uh there is our separation we have a good building in the background i don't even have to play with that uh everything else looks okay i mean it's all blurred out it was you know it's okay with me and the only thing i would change is the white in the boat right i would i would try to make that a little you know to look like this all right i have to i have to come in and comment i a while ago saw as i'm surfing through youtube i found a channel this person goes back in scans fixes and colorizes and then animates portraits of all stars like from the 20s and we're talking about ortho chromatic film my friend didn't see red so everybody's every woman's red lips were black because they were you know that's not a color that that film can see detect so he made animations where the women would also smile it was but he used that method that you are using now i think it was more manual type method not the automated one but no there is an automated method in photoshop which will do that for you oh my god okay yeah another subject for another day but yeah one and i've for instance uh but we could put smiles on the faces of both these individuals yeah yeah it's it's built into photoshop and does it very well you you just have to be careful that you don't go too far because then you start altering your facial structure right but this is where we are and it uh uh that should hopefully give somebody some impetus to doing some colorizing in photoshop exactly there's a lot of people that have have a lot of uh film you know if you're old enough to have come through the film days um like us um our transition to digital was a lot easier by the way because we had that background uh to work on i think space you know we had that base to grow from but if you have black and white negatives all you need to get yourself is a scanner i got i i don't have anything out of this world it's an epson perfection v500 i used to have access to a v800 i don't know whether you're familiar with that that model is actually a lot better than the one i have yeah it gets better and you can scan negatives you can scan trans you know positives transparencies from positive to positive you can scan negatives from negative to positive or leave it as a negative if you if you like working that way there are a lot of people that will print a digital negative on film and then go to the dark room and use that negative film that they printed on their inkjet printer and do a contact print on photo paper well i don't know i mean they don't go that far but there's people that do that and it's like okay fine [Laughter] yeah anyway let's talk about camera calibration then okay can you bring me very important to me yeah leave your screen share oh you took it off you know if you ever want to go back i can share again yeah you can share again if you want to go back and demonstrate something okay let's see if i can there we go now i can ask myself i don't know usually those those former x-ray products now i it's calibrate calibrate so you you need to work in dng uh image format is that correct that's what the lady corrected me yeah dng now most people i mean what what calibrate and what x right tried to tell everybody was this that all you had to do was to take an image of the bottom section here or even both sections and then use their software and uh and run they have a software program where they will create a a profile for your camera based upon the lighting structure of the day that's what it does and according to what they said you'll wind up with a perfect image all you have to do is use that camera profile well that's not true that is just not true it gets you one step closer that's all it is yeah yeah but it's the wrong way to look at it yeah looking a step because what they're trying to do is to promote their product but they're they're missing something and what it is is this when when you were working in black and white jose what was the most important thing in black and white be before you took a photograph what were you looking to reproduce perfectly in black and white uh to me would be um a middle gray okay let's call that exposure yeah exposure you needed the correct exposure right right because you wouldn't get middle gray if you didn't have the right exposure you agree now you go out and buy a digital camera this is a p80 this camera is about 10 years old and uh it belonged to my um granddaughter until she realized that she wanted something better so we went out and got her something better but this camera was a pretty good camera ten years ago it only shot it only shoots in jpeg doesn't have the ability to shoot in raw but if you go out and shoot a street scene [Music] the camera was came preset from the fat from the factory to matrix metering matrix metering means that the meter is going to read all of the light sources from the upper left hand corner to the lower right hand corner of the image everything is incorporated into the meter reading and if you went out and shot a street scene what you found was that you were overexposed by at least a third of a stop now a third of a stop doesn't seem like a lot and it isn't a lot in black and white but it's a lot in color so the next thing you would have to do is to control that third of a stop if you put this camera on automatic exposure for instance a p for programmed exposure which most people who buy digital cameras do with their camera which is unfortunate that's not a really good way to use the digital camera but if you put this on p for program control and then you went out and shoot a landscape in a you know typical bright day your exposure is going to be overexposed and you're going to have to control that with the ev settings on your camera uh i don't know if you can see let's see if i can show them to you here there's a little there's a little dial on here somewhere no it isn't it's built into the menu this has an ev menu so you would bring back the uh the ev by say a third of a stop and take the photograph over again so you you would then purposely underexpose underexpose a third of a stop third of a stop and then you would take the same exposure and under expose a third of a stop again beyond that that's two thirds of a stock and then take the exposure again one full ev under okay none of these meters works in the other direction they don't underestimate they're all over exposed and incidentally every television set is overexposed when you buy it yeah you have to calibrate your television set as well so you then go back to your calibrated monitor see this is where the monitor calibration comes in first and you put your image on the calibrated monitor and figure out which image is in proper exposure based upon your monitor that's the ev alteration to use on your camera [Music] now your camera and your monitor are in synchronization then after doing that you can go to your little magic card and then you can go out in the same sort of lighting situation take the photograph of the color checker go into their software and create a profile for the camera now your profile is correct okay so they left out that one step which was the exposure step and that's the step that's very important they may have ignored that yeah so that this step is very important because without it you're never sure of getting the right exposure now what i have i have played around not a lot not to the extent that you may have but what what the software tends to do this section right here it will isolate it literally selects out each little square yeah right and then it's going to it's going to determine it knows what the values were yeah that's built into the software it's going to determine the inaccuracies or how that image reproduced from your camera your lens your sensor your lighting conditions right you create a correction it it creates a a saturation correction right but what about hue uh a hue correction i i did some where i remember very well what the colors were in my images did not have that right well i applied that correction all of a sudden it was like wow i didn't know my you know my camera could shoot that way give yourself another wow and do the do the experiment with the ev control first and then go back and create another profile okay and you'll be a lot closer it may not be that much different but you'll it will be different you'll see a difference there and people tell me well you know blah blah blah blah blah i have a calibrator monitor but i think really so give us in your opinion how to determine if your monitor after you went through the software whether it's x right or whether it is everybody loves these they're a lot lower cost yeah whether you use one of these or you use one of these right the big dog how do you determine that your monitor is properly calibrated so when you brag about my results are not the same as i see on my monitor and my monitor is calibrated but yet my standard image prints perfectly explain that to us that's never happened to me i know it never happens to me either but it happens to a lot of people they claim their monitor is calibrated i go really yeah is it really no well how do you determine that your monitor is properly calibrated i have my my viewpoints i like to see what your viewpoints are your your video on printing a standard image is absolutely apropos if that's your favorite image that stands for because i i uh i winged that no that standard image prints the way your monitor looks your home so we can we can trust that image as a good control absolutely i have a standard image i printed from my monitor frankly using the same technique that you use yeah just using the printer printer control i'm going to after after if we have time depending how long you want to stay with us somebody just today posted that they don't get the same results when they use say for example canon has the ability to as long as you're using canon media that you find on that drop down menu say pro luster you choose pro luster click on color manual intensity color color slash intensity manual adjustment matching and set it to icm or printer what they call driver matching right it will link that job to the icc profile for proloster right and yet when they let photoshop handle color and they choose the pearlescent profile and presumably okay presumably then set the driver to none no color management they get a different result well what they don't believe them what might happen what they should be doing is creating their own icc profile for their own computer and their own monitor in their own inks well you're telling me that if the driver chooses automatically links it to the correct profile and you manually link it to the correct profile why should you get a different result you shouldn't you shouldn't i'm going to demo that i'm going to demo that on my little xp 15 000 later i'm going to print a 8 by 10 i'm going to use 11 by 17 paper i'm going to print 8 by 10 center image on top label it with a marker and then print in say q image let cue image handle color and see what happens yeah it should be identical it should be the same it should be the same i don't know why people are getting it's got to be something they're doing wrong maybe photoshop because photoshop works i guess in a in a working color space yeah right you can choose either srgb which know what you use you know adobe rgb 1998 or profoto rgb yeah whereas cue image doesn't keem it just opens that file and does not change anything yeah maybe maybe that's why because when you bring with the driver and you print the standard image you're not altering it yeah you're not allowed to right don't touch it open file print yeah yeah you know maybe that's what's happening i don't know i i well the print the print i showed you before we went on the air is my profile that i did with the red river uh super luster paper or something like that and it's on the money it's absolutely on the money when i print a standard image with that profile and even printed directly through photoshop the image comes out perfectly i'm gonna i'm gonna demonstrate something really super cool uh uh canon printers is like the pro 100 that's or the xp 15 000 i don't know whether i can do it oh shoot no i can't i can't do it here's what i was planning on doing the canon driver has two settings either driver matching and that works if you use canon paper for which you have a matching profile installed yeah or if you use icm which epson has icm allows you to then choose an extra tab it's called auto auto and in that auto tab you can then choose a custom profile ah okay you see and that's what i was trying to do but i don't i don't think i'll be able to do that with the epson printer epson printer does not allow you to do that only canons it's a little trick that no one knows about you can choose the driver to control color and yet you can print with a custom profile wow yeah you don't have to worry about double it's not double management it is double magic actually it's it's actually pretty good it allows you to use a custom profile believe it or not and still use the driver if you're printing from an application that is not color managed then you can do that you see you can use the driver icm auto locate that custom profile you made the one you made for those little prints you showed me yeah and choose it and when you made that profile didn't you choose a certain paper type on your printer sure when you are 3000 of course you did so you choose that paper type but then you assign the custom profile to it inside the driver not in photoshop not in lightroom not in queue image but inside the driver and do you notice a difference between doing it that way and letting q in no it's the same it's actually the same yeah that's that's the point i was trying to make because people are having trouble getting the same results in photoshop that they are getting when they print through the driver as long as you're using the proper media you know because the driver is going to link that profile to it it's it's amazing a little extra thing that canon offers you know yeah but going back to cue image they don't pay me to say the things i say about you image but since uh since i started using that which is a couple of years ago it's fantastic i i'll tell you what i it's the same thing with me i began to use it it was difficult as health to learn that you the the user interface because it is unique yeah and they wanted to be unique from the very beginning it goes back almost 25 years and so i stuck with it then i met mr cheney uh i met the 80 some odd year old gentleman that we used to do the voiceovers on the uh on the teaching videos and i was what i was wondering that cannot be mike this guy sounds as old as i am and it wasn't it's his neighbor and he loves them and you know they're really good friends but he contacted me and you know from now on i i don't have to worry about you know ever having to update he updates me so yeah that's you know that's the relationship we built and i again i don't i don't i don't say it's fantastic just to please him i don't say it's fantastic because i'm getting free updates no that's not the case no it really is if it didn't work i wouldn't use it the same thing with precision colors if it wasn't a good ink i would have dumped them a long time ago really and there's no point when you find something that's good tell everybody about it oh man i have i have been accused of oh my gosh all kinds of things well let me say when you acute image if you're watching this you need a pdf manual this this stuff about help videos is just a pain in the neck if you have a p a nice pdf manual with a good index that's what your your program needs needs it badly yeah and uh because anytime you get into a situation where you don't know what to do you go through loopholes trying to find out how to get out of it or how to use a certain aspect of your program create a manual yeah lately he's been doing uh videos so he's got you know uh andrew from key image one has a channel and mike has a channel but again yeah something that you can refer to on the on the spot right because of the way the menu structure is situated if you're used to many structure in in photoshop you're gonna be lost you're going to be lost because lucky for me i learned it from the beginning and i know what what the structure is to me is second nature to others it is not you know and the nice thing is it's it's a lot faster to read something that they'll work than to listen to a whole video exactly you need give me the answer in a hurry you need a pdf manual yeah all right it was fun we want to talk about it well i can talk i don't know there are lots of things we can talk about but this was leave it up to you this was fun we've been on for about an hour and 10 minutes so that's that's not too bad okay well i don't want to infringe upon your audience nor do i want to infringe upon what you have to discuss so i'll tell you what i will be a i will be a viewer for the rest of your program a fly on the wall is that what they call it you can jump in anytime you want i appreciate you correct me whenever i mess up you're the man all right and one of these days i will make it out to see you oh well vice versa i could always do it i'll show you my messy workspace here all right okay my friend okay thanks a lot thanks for everybody else too all righty see always educational i learned so much from this guy it's crazy and i would i would gladly take his uh class although i'll probably be a smarty pants and and know it all anyway let's see what else we got here so we had uh busy today that was our last visitor now you guys feel free to ask anything you want we got 33 which is amazing during the holidays to have people actually watching us uh steven paul boy did i see something on yeah i believe i did you posted something regarding um this the 8550 maybe or et printers anyway he's got a 77 50 that's that's pretty nice uh 8550 as well and a 24 inch hp z9 i'm not familiar with that one i know the uh z um what was that series at 3200 or 72 i don't remember the big ones i remember those he says also have qmh1 for my mac but anyone help me learn how to use it to its ultimate use uh it's the same it's actually a lot simpler um i did a if you can refer back to my previous live stream i actually printed on the spot i printed a couple of images one black and white image and then one regular i think it was a what was it standard image maybe uh i used the xb15000 and i used key image one to print it on the beauty about q image and this is one thing that will help every one of you who is just learning how to you how to do this speaking of color management it's very easy unless you're on a mac and even on a mac i think you can actually double profile accidentally not so not so much as you can on windows because windows is pretty much a manual system you have to actually choose your settings either the driver controls color or the application you print from controls color not the two if the two are controlling color at the same time you're going to get a weird looking result simple as that so either the application whether it is photoshop or the of course the uh regular application the driver that is so not both now q image will automatically prevent you windows users from double profiling and it doesn't include every single model out there a printer but basically he has updated it to the point where i believe every available today current model of printers will be included in this anti-double profiling setting yeah manual for q1 would be good actually i i hope you guys are listening the 2q image kings out there and maybe you can come up with something some kind of a walk through what to do jerry says can you discuss raw versus jpeg on camera settings that i am not an expert on richard would have been the man for that richard would have been the man um yeah thanks richard so basically jpg is just super compressed and i'll just use the word compression because that's what it is and raw is like an unconverted format in other words it's it's what the camera saw what the sensor produced and it sends it to the to the computer via your little memory card and then your computer will then generate a visual representation of that set of data but in photoshop you have to convert it to a known format using the raw converter so the raw converter will open up the raw file and then before you export it so you can then edit it you have to change it into a jpeg which is no a psd which is um photoshop's own basic native uh non-lossy format or tiff you see you have to convert it to something else now lightroom opens it up without converting it in some sort of virtual type of like a pro photo rgb style of of uh you know uh so-called color uh space q image does not convert it to anything it just opens it up also virtually you perform your edits and that's it without having to convert it first of all physically convert it into another type of files format so you end up with two images the one in your card and the one that you then save after you get done editing um yeah um jpeg maybe you in some cases you may not see the difference between say a psd uncompressed psd although it is compressed slightly and maybe maybe it's supposed to be non-lossy but you may not see the difference between jpeg and you know a tiff for instance it depends on the image it depends on the image but it will be compressed because it'll be drastically different image size as far as megs or megabytes so whether that causes a lot of information to be lost possibly uh if you shoot raw on your camera and you bring that raw file and you open it up in the raw converter which basically is just like lightroom lightroom is a raw converter you can actually bring in areas that may appear to be lost in the highlight section the highlight part of the histogram you may be able to bring those in so i i believe and richard can you know correct me if i'm wrong but that your dynamic range will exceed beyond what a jpeg can can you know reproduce maybe a jpeg you're you're you're stuck once you have a jpeg and you lost shadow detail or highlight detail whatever you may have lost when you converted it to jpeg you cannot gain back okay whereas raw often i can recover areas that i think look like they are gone but they are not okay and lightroom has the ability also the rock converter to show you where you may have gone beyond that white edge and you bring that edge back in in jpeg it's it's just lost it's gone too late so you know converting to jpeg immediately it makes no sense to me in raw and then if you wish to save drive space then convert to jpeg with minimal compression you know i am not an expert in that field by the way wow it's so bright in here let me let me close down my window a bit it's crazy bright i got a nice little shade built into my door and that allows me to control the brightness this is a lot whoa i'm blurry that's a lot better let me turn this down a bit no that's at the lowest setting possible all right great henry stoffel says don't didn't mike say the last time he was on your channel that a pdf manual was a pro oh okay i forgot if he did then that's awesome so that's coming down the pike and yeah i mean everybody next time we can discuss the use of display count okay we can do that yeah tell me when you want to come back pepe le pew i love that character little skunk what makes what makes inks from china bad do they add what makes inks from china bad do they are add harmful ingredients in their mixes because they just don't try to color match the original ones it's just cheap it's just cheap and they don't take the time to do a proper match again the products that they use are under the quality of oem products as far as the dyes that they use pigments that they use quite often a so-called pigment ink will contain very little pigment and mostly die so and you know you could buy it by the gallon on ebay look on ebay and you will see what i'm talking about you will have a complete access a leader no it's cheap it's tough it's junk great if you just want to knock out brochures that are going to be thrown away but it's not for what we do high quality photo printing and i suppose that after a lot of profiling you can probably squeeze a bit of quality out of those inks but no they're not really that great it's not that they add you know harmful agents to them at all yeah it's an old one folks so he's gonna have to like uh update that i'm sure he's working on that your explanation of jpeg versus royce on target are you kidding me i was winging that i have no formal education when it comes to that always shooting raw and save your files either in raw format or tiff i use tiff files exclusively one thing that i remember and i see that often sometimes on tv is what they call jpegging it's a super super well no not super it's it's a it's a artifact that occurs when you over compress that happened also when in the in the early days of dvd production when you compress the file too much it would get jpeg and that's where you start seeing squares instead of dots squares of one shade of color that's because it's looking around that pixel locating other pixels that are similar and it's just making them all the same color so it creates this big square this giant pixel it's like a giant jpeg pixel yeah that's what super compression does i could demonstrate that someday you take an image save it as a jpeg you reopen it save it at the highest compression possible reopen it again save it again at the highest compression possible and you'll see the results it looks like it was made out of blocks irregularly shaped blocks too not even close it's just you know and and people complain that well my memory card is just too low capacity so i need to shoot jpeg get a larger card and then you can shoot raw if your camera allows you to do so do that now like like richard said my i had an original nikon what was that pick something it had a swivel lens i think it was one of their first digital cameras for the consumer although it was almost a grand it shot only in jpeg very nice results i mean i couldn't complain especially since that was like the beginning of this whole digital game back then and then you know raw came about and all of these different types of uh non-lossy formats and that opened up a whole new window and imagine imagine what you could do if you take a camera on an area that has a huge dynamic range shoot a say if you properly expose that that that correctly exposed image and then go up one stop and down one stop and then merge those as a so-called high dynamic range or hdr result it's amazing what you get it's amazing you get beyond the ability of a single shot what you can capture that's kind of like what ansel adams was trying to do back in the day with the so-called zone system all right let's see what else we got is this year [Music] there is a large difference between any compressed jpeg and a high quality jpg the compressed one will have that blockiness you can actually see that visually yeah it's a lot easier it gives you so much more control because there's more information than you can actually see it's amazing i have done some miracles with when you know using raw uh format occasionally when i'm in a hurry and it's not important i'll shoot jpeg a kid's birthday party and i'm just taking snapshots for myself no problem at all it's good enough as you know if you will all right pepe le pew says uh thank you jose i completed flushing my cli 42 said yesterday there was still a stain of colors left i have to let it dry now um you know still around 17 grams you want to reach around 14 and a half so make sure that your area is ventilated make sure it's warm make sure it's not humid otherwise the humidity level will not allow the proper drying of that sponge and don't worry about the little stain or colors as long as you've washed most of the ink if you want perfection then you got to go with rick johnson and he only ships to u.s president uh president's residence so but yeah don't worry about it it's fine it'll be fine let's see i got a yellow cartridge here you know it's not perfectly pure white it is pretty clean this is good enough good enough and what today's inks that are available whether it's precision colors or even ink owl or other sources the likelihood of a clog with a yellow cartridge you know the so-called mellow yellow or gel jello is very unlikely to occur today i'm not saying it's impossible but you know it's very unlikely i have not heard any more reports from that about that bob says the jpegging video artifacting usually happens very fast action yeah that's also yeah exactly because it cannot it cannot possibly create high high quality frames it has to lose it has to lose otherwise you're gonna end up with a with a two minute video that could barely fit in on a dvd you see what i mean so it has to be compressed to allow a full-blown movie to occur so it is doing selective compression depending on the amount of action if you're shooting a scene where the camera is still and nothing is moving you can compress the hell out of it no problem but if you have a lot of action you cannot compress it so when you are rendering video you have a choice of a with two-step uh processing in other words it's going to analyze the video it's going to analyze the frames that require that could that require low compression in the frames that could stand up to a higher compression rate and it's going to do a variable compression of that video output but we're talking about images here just still images not video i'm pretty familiar with video um processing nikon 995 with a suit yes that was awesome i love that i love that camera and what was the the size of the files were what like three point three point three what is it uh bytes uh no i forget now the term but you know what i mean very low size uh very low resolution compared to today megapixel 3.3 or three point something megapixel images there you go the expert has piped in you will always see a little stain in cyan and photo cyan as jose dried weight is 3 13.4 to 13.6 you said 14. i've i've had 14s and you know they they fill up okay but you know that means it has a little bit of moisture still in it but you are correct my friend popular peter says in one of your videos you should say that you work in dark rooms and made friends do you miss the old workflow sometimes no it smells terrible i do not i did not like the smell of acidic acid not at all but i do i do miss it in the way that it it it was actually quite interesting and very kind of a restful process because you were in a dark environment all the time i work for the pentagon i work for nato i work for various other labs here in washington dc and and so forth i did a lot of medical photography i don't have the background that richard has by the way he was involved in a lot of other aspects of photography as well as uh chemicals processing type chemicals and that type of thing all right let's talk about 16-bit printing somebody asked that today and wondering basically specifically about the xps drivers from canon and you know if you're using something like photoshop or lightroom then and you're working on a windows machine because that's the only um operating system that for which you have to use xps if you want to get the look i mean the look of 16-bit printing say you're working with 16-bit images you go to the raw converter you open up your raw images and then you when you save it when you export it out you choose 16-bit or 24-bit even it really don't matter because windows can only print on 8-bit okay it will reconvert it will downgrade your 16 or 24-bit image to 8-bit now cue image ultimate i believe also qmh1 will print and simulate a 16-bit but if you're on a on a mac 16-bit is accepted no problem and what does that do well the way that mike demonstrated it was he showed like two tones and one was maybe because you have from zero to 255 255 is the paper no ink and 0 is of course you took black ink and you poured it it's just no nothing pure black and white meaning the background of the paper base whatever color that happens to be which it has it has a certain amount of color by the way it can be warm it can be yellowish it can be cool it can be neutral and it can be bright it can be dull you name it so say you have 150 tone number 150 and then adjacent to it tone number 151 you will see the difference there will be a a little line you know a separation of those two tones what if he won what was it one 149 150 or 150 151 what if he won 150.5 you can't in windows you cannot reproduce a 150.5 you would have to be in 16-bit on a mac so the software would have to then create the illusion of having in between tones where none really exists okay humans does that automatically for you canon introduces the xps driver for those who want to experiment down that road on a windows machine the reason there's no xps driver for mac is because it doesn't need it mac can indeed print in 16 bit so be aware of that will you see a difference the only time that i have seen the artifact we call post posterization which is like a it's like an amorphous set of edges where this tone all of a sudden goes to that tone and there's nothing in between it has to create an edge a wall a fence between those two colors you know 145 and 146. and it's a shaded sky and it just happens to go from 145 to 146 so you're gonna have a little line so what what xp s does and what q image does is it dithers it it's it's it simulates the existence of that in between tone between that what would be that little separation fence or a wall and smooths it out it gives you that look he showed us some almost micro photographs of of this happening on on paper and it does indeed work will you see the difference again only on certain images that have that extremely gradual change of tone density if you don't have that if it's a very busy with high level of detail high level of you know differences in contrast and brightness nah you're not gonna see that it will not matter whether you print you know with q image using simulated 16 bit or using the regular driver cannon driver say in photoshop it will not matter so uneven borders oh this is a good one so today somebody was ranting about the fact that you know i'm tired of sending my work to this private professional lab and i tell them i want a half inch border all around and when i get my prints back they have slightly different borders they're a professional lab why can't they get exact paper position is not an exact art mechanically it cannot be reproduced the way we got registration perfect registration back in the days of the four color press literally the paper had holes on the on the four corners and we will actually place it on a registration pin system otherwise there's no way that paper can be automatically placed exactly the same spot every single time maybe possibly could be done if you have roll system but individual sheet feeding is not an exact arc let me show you what the margins there's so something called the minimum printing margin printable margins mike cheney touched on that when he was showing us some features in in cue image but say for instance in just lightroom basically you go to the print module you you have your your paper size that you are going to print on you throw your image on there and maybe you you choose zoom to fill so it's going to fill every every available you know square inch of space or millimeter of space but it's always going to have uneven borders and here's the way it works you can read that the left border is going to be point 14 inches the right border is going to be point 14 inches the top or leading border because remember we're printing in in portrait mode the top or leading edge border is going to be 0.11 the bottom or trailing edge border is going to be 0.21 well what if you're printing in landscape mode that means that your left now your left and right border are going to be uneven simple that's why it happens now there's a trick you can then choose borderless follow me here you choose borderless and then zero out all your margins because you cannot zero them out while you are not in borderless mode these are the minimum reductions in other words if you reduce your margins to the minimum they'll still be those dimensions okay so you choose borderless even though you're not going to print borderless and you reduce them to zero now you create a so-called cell basically it's a mask and you set that cell say you're printing 13 by 19. you want a half inch border you choose 13 by 19 you tell it the driver to print borderless it will say fine it'll it will warn you about all these problems that can happen and they can't happen but you accept it you accept that responsibility then you go back to the print module and you choose a cell and you set it to what size you remember you want half inch borders 13 by 19 paper so you choose 12 by 18 cell zoom to fill your image because your image format may not fit that you're going to lose a bit of your image except that it's part of the game don't expect a perfect fit you want a half inch border all the way around you're gonna have to use zoom to fill and do what i just explained now you will have half inch on the top half inch on the bottom half inch on the right half inch on the left but that does not mean the printer can position that 13 by 19 paper repeatedly exactly in the same exact spot so when that image data is transmitted to the printer it will be printed exactly with half inch borders all around it's just not possible okay there's too many mechanical slight inaccuracies involved so accept the fact that that will happen accept it i do i don't let it worry me too much because it's just a it's just a waste of time so again if i'm printing on raw paper that roll paper never shifts once it is loaded it's more likely to allow you to print repeated images that you set up to have a half inch border all around or it could be three quarter inch border it doesn't matter it will be able to reproduce that over and over again as long as that paper is not shifting around on you and it shouldn't be it shouldn't be once you set your your roles it should be pretty much you know the same position from beginning to end till the last you know foot of paper is sent through the printer now i don't know why these professional labs cannot produce an even border because they are obviously printing on role machines maybe not who knows who knows what they have see what else we got here keep asking questions folks don't let me don't let me take up all your time i want to be able to help you guys if i can whatever questions you may have i'm going to add my goodbye graphic here because when i um let richard um share his screen it blanked mine out so we are back and ready to go when it's time to leave we'll be ready to um say goodbye richard bender says uh three point yeah megapixel it was a little bit over three it was like 3.3 or something like that but again it it really printed beautifully i was in shock how well that printer because all we had back then was little little camera they had one camera that literally used a floppy disk as a memory card yeah you could imagine i think it was like 480 pixels by three something like 320 ridiculous so you can make you can make a little print like that maybe before you start seeing the actual pixels bob says i have i have been able to accelerate the drying stage of my cli42 cartridge cleaning by injecting low pressure compressed air in the fill hole takes a wait time down by an order of magnitude yeah um one suggestion and i think this is i don't know whether i don't think um rick uses this but somebody was using a food dehydrator and just leaving the cartridges that were flushed out and you know most of the water removed in there and they seem to dry pretty quick because it's a control type process it's actually dehydrating the cartridge i have i have a a like a very large toaster oven and i set it to only like 100 degrees or maybe 90 degrees and i have a tray and i lay down my cartridges and paper toweling and do a half hour cycles it does not affect the plastic at all it's too cold too it's too low a temperature for that but it really does accelerate i can i can dry a set of cartridges in one day that way and i i you know will systematically check their weights as i go along i add another cycle if it needs to go down another half a gram and i reach that temperature quite quite easily again but you have to invest on a big toaster oven you know but again food dehydrator is a more safe product to use and again if this is only for those of you who do this professionally i guess when when pc was providing people with flush cartridges that's what they were using art art is here merry christmas everyone same to you my friend let me see here bobby says solution of a regular border paper cutter yes that's another solution print on larger paper and then trim it make sure your image is the size you want it to be when you lay out your your your job make sure that the area where the image is is the correct size you want it to be include extra space and trim it trim it down to half inch borders that will guarantee you as long as you trim accurately that will guarantee your borders nathaniel booth hello my friend from baltimore you always help as the truth is always helpful i try i try not to sugarcoat anything because there's really no point the point is to arrive no the point is to produce what you expect in other words you want something that will please you you want something that that is what you expected to be able to produce with your expensive printer and somehow sometimes getting to that point requires certain certain uh workflows and you just have to just accept those follow them and as long as everybody follows the same workflow consistency my friends that's what you need you will reach that point i went through all kinds of hell back in the early days rick johnson says i use an air mattress inflator for about 55 minutes takes it down to 14.2 wow and that's awesome that's a quickie i have used a dehydrator but it uses too much electricity okay that that's that's a good point as well for me yes all right let's talk about again don't forget keep keep adding questions i'm going to go to the next topic here people keep asking about papers and again it's just kind of an impossible a question to be able to answer because it's so subjective but let me show you just a small sample of what i have and i probably have four times what i'm going to show you here these all represents all kinds of different papers if i was to lay a sheet of each paper on a large table and have you just glance at it with nothing printed on it you will see a lot of similarities the difference betw the differences between different types of surfaces levels of gloss or lack of texture uh base color of the raw paper base um it's actually quite close you're gonna have to like really it's gonna become very boring you look and see what paper looks good to you something that will sort of ring a little bell on your head you know and say oh i would that looks really neat that reminds me of something i saw okay that's one way but really the way to determine what type of paper you could possibly fall in love with is to print with it and again i've always said start with your base papers canon epson hp if you have an hp photo printer i don't know whether they still make those or whether they still make photo paper for hp printers maybe they do start with that stick with the driver control master the process by that i mean like richard said if the standard image that you print using canon glossy um you know matte paper gloucester semi-gloss whatever and you choose that particular paper on your driver and you tell it to you know use the pro the driver matching or icm it will print a pretty perfect rendition of that standard image for you it will and so now you know as you look at it now you know what that paper base color level of gloss texture overall just character what it looks like with an image printed on it and the reason that standard image is good because it contains lots of little other images and there are that's not the only standard image available folks there are many other standard images i just gravitate to that one because it's the one that i'm used to using but i have a ton of them in my facebook group join the facebook group go to the files tab because that one basic image is no longer available from the original site they tell you about it they explain what each each section means and how to analyze the printed result but the download doesn't work so i'm glad that i have it and among other things that i offer also for free you know you can go to the files tab and just download anything you want from there there are other images included that you can use okay there are specific images for monochrome only if you're only a black and white person printing only monochrome prints there are monochrome control images as well there that gives you all of the analytic little you know features that you can use to analyze the way your printer produces a monochrome print okay so get it from there now print that image look at it on that paper let me see what we got here terrible paper right here if you ever see that in any of the stores do not buy it kirkland actually very good this is available at costco really really good paper and i think they only have this is four by six in a huge box by the way i don't know why but if we're very well protected as you can imagine let's see if we can open this the original packaging is gone but look at that that's 250 i think it's like 250 no 300 sheets it was like 20 dollars some ridiculously low price i have watercolor paper just plain old watercolor paper you buy at the art shop you've seen my results from that no need to go back ilford gallery okay you can see what i mean these are all sample packs from many different companies print that image before you do anything else okay do not start printing your own images right away start with a standard image get to the point where you can print that standard image and if your monitor is calibrated like we were discussing it matches your screen that is all you need to worry about even if you're not using camera camera calibration or you are using camera calibration for your later jobs that you will be printing but start with a standard image a standard image is your control it will determine how well that printer is able to reproduce the colors from that image let me clean my glasses here i finally i'm using the correct type of micro cloth here especially after i spent the half a fortune for my glasses here i'm getting my eyes checked about twice a year now my mother lost her eyesight around age 90 well mom made it to 93 so around age i think before 90s before the 90s and my grandma who made it to the 104 her mom was totally blind so i got to be very careful with my eyes especially since i'm in a field that i need my eyes for anyway so yeah print that image look at it on that paper print that image on a very neutral glossy regular glossy paper look at that and start experimenting stay within the paper choices your printer has entries on that drop down menu okay use those papers there are they are calibrated for your printer there are icc profiles installed when you install the driver in your hard drive use the method that i have always described print with the driver and use driver matching and set it to icm or you know and then you will link automatically to those correct matched icc profiles don't immediately get into using custom profiling and all of that stuff it's going to become confusing since you are just now learning what any of this stuff means okay so stick with the basics you can do it with your eyes closed then you're ready to move on to other papers other types of media are they really drastically different than the canon papers or the epson papers not really but they do have slight differences in output the way that image is going to be reproduced it will come out a little bit warm it will come out a little bit cooler it will come out a little bit this way or that way that's when you use a profile a lot of these companies will provide you with custom profiles anyway but only as long as you're using original inks they will not work with you know pc inks they will not work with income or any other third party product because those inks are not a hundred percent match to oem they can be very close pc inks are extremely close but still not a perfect match so you have to use a custom profile again but that's way down your learning curve road okay don't get don't get completely confused and then sadly think about quitting the hobby or the craft because you just had a you hit a wall and you don't know what to do so keep that in mind folks keep that in mind do not get too confused again i have a ton of these different papers only because they kind of came to me okay if you get what i mean they were sent to me or i i found deals i just simply could not refuse and i went ahead and purchased all of these different types of papers but you know what i find myself gravitating to about three papers and one of those is pro luster from canon semi-gloss matte and with epson i love their watercolor i don't know if i have it here watercolor brilliant white i believe it's called wonderful stuff wonderful stuff and also now i'm using this i highly recommend this paper a sub asub is known for their sublimation transfer papers i never knew that they also produced photo papers that paper is very very close in the overall quality to canon platinum which is like the top glossy paper canon makes so again very very reasonably priced that's 50 sheets 11 by 17 and i think i paid less than 30 dollars for it yeah suggestion for laminating photos from william l not to any other surface just laminating the photo itself what to watch out for what to watch out for cold press hot press et cetera um do you mean there is such a thing as a cold pressed paper and a hot pressed paper is that what you mean or do you mean uh the press itself i kind of you know i'm a i'm sort of against that i'll be honest with you because you're just gonna completely change the look of the print the the idea of having a print is not only just visual but also a tactile type experience unless it is framed under glass and again that's like laminating so you're not going to have that personal relationship with that print it's going to be in a more isolated type condition so if that's what you want then yeah i don't know much about lamination my wife had a laminator in school when she was working at the uh the school's media center here in the county um but again everything just became plastic and you know you're talking about a very high-end paper that will cost you ten dollars a sheet why would i want to laminate it in plastic unless you know i'm there's got to be a reason for it if you're thinking about increasing longevity that way um i would not buy that from you i would i would rather have you spray with a protectant spray or put it in some kind of sleeve that i can remove it every once in a while for me to look like but permanent lamination no it's not something that i i would tend to approve of but again it's an option it's one other you know another option that you can use but to me it's just not it just doesn't do that that print justice especially if it's on a very high-end paper the paper is what really adds to that that overall impact of that print you know and then it just becomes a sheet of plastic leaf wick lund merry christmas to all for me busy trying to revive sc sure color p600 that i bought cheap then clever guy had taken out the cards some time ago oh that's not good guess i have some work in front of me yeah that um that printhead is totally caked up i hate to tell you yeah all right perfectly matching prints do they really need to be 100 match to your screen well sure but that would be that would be something that would please you the the technician okay the technician involved in in digital photo printing you want to know that your screen matches your your prints your output and it will be slightly different depending again like we just discussed the the different types of paper so some papers that same image will look cooler on a warm base paper like aurora uh natural from red river that's very warm paper it almost has a a not quite yellow but kind of a an off-white type look to it and a nice texture by the way hang on so yeah did it match my neutral rendition of that image of course not it's not going to match that way what i look for is that it matches in brightness in other words if i look at the what what will most people that buy purchase a print from you will be viewing it under under a control viewing environment with special lights of course not unless it's a gallery you're going to put it on your wall and your wall may receive certain level of lumens of light certain amount of light maybe bright maybe middle maybe kind of dark my house the way the house is situated the windows really are in the wrong place so they don't really illuminate internally the house as well so any wall that i have it's not gonna be bright okay some people have a very bright home environment so whatever they hang will look bright i got prints here that you know this room is dark that looks correct to me though that looks correct let me see if i can if i can show you what i'm talking about right there on my wall i got a big panorama so that's been there for ages and it has not changed by the way okay unprotected so and that was with a um 2200 an old-fashioned 2200 using the roll adapter which was fantastic by the way anyway so yeah illumination of the final image depends on your environment so you want a print to come out that's not going to appear dark okay so that is primary number one you want you want that print to not be darker than what you see on your monitor it will be a tiny bit okay because the monitor is just immensely brighter than anything you could you know talk about so color color neutrality that's dead important so if something is supposed to be middle gray we were talking about middle gray earlier i wanted to print middle gray and i want it to be displayed as middle gray so when i print my standard image it's going to print neutral i know that but will it match my monitor well i have to check it side by side if my monitors looks a little bit yellower yellowish compared to the what i what i think is a neutral printout then maybe my color temperature needs to be raised a little bit okay so i do that in the in the calibrating software for the monitor i increase the white point a little bit higher and now i i look at the results and yeah that matches that that grape that black and white portion of that standard image looks neutral and it looks neutral on my print yay i closed that book that's it from now on i know my monitor is displaying that control image correctly now if in photoshop you open up all kinds of other because photoshop has working color spaces that you can set but that should not change you know your color too much it just gives you what bigger gamuts depending on which color space you use but the color itself should be maintained just as neutral so i prefer using lightroom for editing and then i print auto cue image like that and so that is the best that i can you know recommend um but you're still not going to get a perfectly 100 match it's impossible to do so so but think about this i edit i look at it and say yeah this is what i want to achieve i set a white point i set a black point that way i don't have any tone in that digital image that i am representing on my monitor beyond white or over the black cliff as i call it everything is contained inside that histogram okay nothing is completely white nothing is completely black if i want something completely black and it's an area that absolutely has no detail i may set it to that but most of the time i do not because printers have a habit depending on the quality of your printer to crush the last maybe from zero to six or eight it will crush it now black point compensation has a tendency to minimize that level of crushing of the stone some people like to have those last you know four or five six stones crushed and i don't i want them to be slightly more open and able to be detected if i choose to do so so i send that to the printer and i go back to my printer i got my little drink in my hand pass pass pass pass pass pass pass paper access the printer i look at it i got my studio lights on yep this is what i want do i ever come back and and scrutinize it on my you know monitor to make sure it matches if i happen to sell that print you think my customer is going to say wait a minute before i shell out any money i want to come over to your place and i want you to show me that it is a virtual representation of your monitor nobody's going to do that so as long as you are absolutely pleased with the results really there's no point for you to agonize sleep you know lose sleep lose your hair it's too late for me and worry about that okay as long as the output pleases you that's the whole point because paper will be a factor the type of surface the type of you know color base the type of coating will affect the way your print will print on that your image will print on that paper does not mean it's going to match with your very neutral environment here this is the screen it's always going to as long as the screen doesn't drift it's always going to project that image to you one way and one way only unless you change the screen settings but paper is different paper has color paper has texture paper has reflective qualities or lack of that watercolor paper very low and paper with obas very high you see what i mean it's going to be different so don't worry about that as long as your prints please you when they come out of the printer that's it don't go any any further that's all you need to achieve if the print looks a little bit dark then you have to come back and realize that maybe if you look at your histogram maybe you see oh yeah i edited that image a little bit too dark it's very hard to determine on the screen because it's so backlit so you have to have really good eyes you have to use use the help that the editing program gives you they give you a histogram and you know where your total your tones are sitting okay and you may be able to adjust that okay if you see that middle tones are looking a little bit dark but your highlights are okay your shadows are okay in lightroom you can just grab the middle tones and slide them over to the right a little bit and increase the luminosity of those middle tones it's it's great you can do that in photoshop easily as well so that's the only time you would go back to like you know do some correction but most of the time when i print i can be pretty much assured that if we look fine on my screen i'm going to be satisfied with the results unless there's something mechanically wrong with the printer that's that's another ball game all right anything else here on the um we got a little less than an hour see what else we got so leaf says uh merry christmas to all busy okay that was i i already read that dummy uh your perfect studio aurora art natural yes that's the one it's very good actually and i had aurora white as well i got a box of it sitting over there in my other room right now um very good paper i love it for the landscape i did a lot of work a lot of shots in in the you know gettysburg battlefield pennsylvania it looks fantastic shots of uh fall foliage look great on it not so good for snow scenes because it's a warm based paper so that's another thing you can discuss how do you choose a paper for particular images okay so again that's going to play into your psychology okay so what do you what what do you expect to what do you expect when you are shooting soft focus smooth very you know nice pastel uh high key shots of little babies wrapped up all cuddled up and sleeping a cold glossy paper no of course not of course not what's a blanket a blanket is fuzzy a blanket hacks texture so you might want to use a warm warm see the baby is in a warm blanket paper with a nice texture type coating or surface and so that would work for that subject what about landscapes for landscapes i want something that's neutral and smooth i don't want landscapes usually have a lot of detail so you don't want to obscure the detail with a very rough surface paper so you want something smooth maybe a smooth matte paper with a good dmax and you use a printer that has matte black ink that's what you would use for that what about snow scenes well it depends it depends if you have a snow scene that has an area in shadow and then another area brightly lit by a sunset a sun setting sun a setting sun then maybe you don't want a cold base type paper you know what i mean maybe you want something basically neutral and again it all depends about how about models studio shots of models again you don't want to introduce anything say a rough texture that will make you go oh yeah she's beautiful but what the heck is going on with this texture it has nothing to do with the subject you see you you don't want to take away the impact of the image by some attribute of the paper you see so you have to experiment why why would that be important because again results impact is what you're shooting for if you want to experiment just buy some sample packs what do you specialize in what kind of images you specialize in i don't have any specialist you know special speciality in images i shoot everything and so i would have a hard time then sort of finding my way through different types of papers okay but those of you who only do one type of photography can narrow it down easily just print those types of images on a bunch of those papers that you will get you will get icc profiles from the providers as well so you can experiment with those images and see how they and then have you look at them have your friends look at them and go by their their feelings the feelings that those images on those particular papers generate from your viewers and that's and then of course at the end of it all is you you're the one you're the boss so you pick whatever's you know grabs you better and again it's they know those companies know what they're doing folks they absolutely know okay they want to make it not easy they don't want to make it easy they want to make it a little bit more difficult so you try out a bunch of their papers now red river has a section on their new website that walks you through the different types of images and what papers you might want to try from them for those particular styles okay it's very very nice right um what i would suggest and i think i'm dealing with that oh i got the topic for you so let's talk about something else right now then i will come back topic number seven will be our very last one and i will try to do a um printing demonstration where i will let cue image handle color i'm going to have to use this is this is going to be tricky i'm going to have to let i'm going to have to use a profile from uh like i can an epson glossy type paper profile and then i'm going to let the driver control color and then i'm going to like you image control color with that same profile and we'll see whether we get a different result because that was that was the argument that they're getting different results color manage workflow if i print through the driver alone or if i print with photoshop alone letting it control color or lightroom alone if you follow me we're going to use cue image because skew images is kind of tricky q image will prevent you from double profiling and i think that may be what's going on i could be wrong but that may be it all right so i'm going to open up q image just to show you something about profiles and what people are having problems with i'm going to toss this over here my other screen let me minimize this pop that over there come on baby all right hope we can do this without screwing up too much so here's my shared screen let me maximize my view all right so you're gonna i'm gonna unload a standard image boom and i'm going to look at the printer settings we're going to go to uh this right here this little key right there and i'm going to look for the possible correct profile to use now epson xb15000 subglossy that's a sub glossy that is my custom profile but i'm using premium photo paper glossy as the paper source source so when i choose that little suggested icon it's going to look for photo glossy paper okay now i want premium photography paper so it's going to give me the possible choices i should have you know as best as the program can guess so we're going to choose premium glossy but i wanted you guys to see if i look all the way down here you see a bunch of different papers and they're all out of order because of the way that i categorize this that is not a paper profile that we're going to be using you see these will always be there and basically they are not what you want and i have taken the time to make sure that i don't show like if you ever see anything that looks like a monitor profile that is not a printing profile that is only a monitor profile you use to view your images with or whatever it is that you view on your monitor it is not a monitor it's not a printing profile us newsprint that is not what you're going to be using and people apparently were very confused as to what these things were here well this is not something you want to use okay you want to actually use your profile we're going to go back to suggested again and we're going to print this one or you're going to print this one depends which one you want to try premium luster premium semicolons well all the profiles will be categorized to the xp 15000 because i chose that when i say suggested had i been printing on another printer let's choose another printer here let's see here boom boom boom that's not a printer that is a profile silly okay here here we go we're going to choose the pro 100 okay so now we're going to have to switch our paper let's choose semi-gloss or let's see what else can we have how about proluster how about platinum platinum and okay so i choose platinum in 17x6 17 um it wants me to notice that you see that that dark area top and bottom it wants me to use the manual feeder so i'm going to go ahead and change that let me see if that's change it to the rear tray it is see adding that margin we don't want that margin without the margin let's just choose that okay so now we need to make sure that we got the right profile because it's using the subglossy paper profile that i made let's click on that let's click on the magnifying glass it actually chose a custom profile that i made notice right here the very first profile that it shows is the n three photo paper platinum end well we won the one slash two these two choices here this one was actually made that profile was created using a lower quality setting on the printer we want a higher quality setting so rather than have to you know just search through all of this if you just click on that little suggested magnifying glass it will put it either at the very top or at least maybe position number two so we're gonna pick that one open boom now how do we know that we are going to get the correct result remember we decided to let the q image application control color as you can see right here we actually are using a profile so q image has taken it upon itself to control color so what about the driver is the driver going to control color let's look and see color intensity manual adjustment matching it should be set to none there you go let's set it back to driver matching nope it's not allowing us to do that you see that it's changing it back let's check again remember i set it manually to driver matching it's back to none so double profiling at least for this series of printers it's impossible to be able to to fold the system into allowing you to do that you cannot double profile okay it's as good as it's as good as macintosh now and that's windows which is amazing claim to uh to you know put out let's open up that a little bit more space here all right so then if we print on the pro 100 using that paper and i have that paper chosen on the drop down menu and i actually have photo paper platinum and paper loaded i can either let the printer do it or the application do it but let's choose let the printer manage color oh look at that see that printer driver color matching settings have been auto applied let's see if that category is still set to none okay let's click on this drum drumroll i see him you see that now let me show you what i was talking to richard about so let's just say that i have a custom paper profile that i made and even though it is not photo paper pro platinum and i use that asap paper and i happen to choose this paper choice to create my profile on let's go ahead and click on auto auto gives you access to every single profile you have created okay right there you can actually manually find your custom profile and change that to relative color metric and boom and click ok and now you're printing with the driver controlling color but with a custom paper profile you cannot do that with any other printer but canon at this point you can do icm printing on epson printers but that only works for your epson papers and not have some papers with the epson oem profiles but not with custom made profiles that's a pretty nice little feature that they give you so that is something that's can only be done like i said through printing with the driver now i'm going to go ahead and leave that over there because we're going to do a printing demo at the end again i want to experiment whether printing either through queue image using cue image color management or printing with the xb15000 using its automatic color management through the driver will it create different results all right we'll find out if that is true chronic clogging let's talk about that i'm going to do the demo at the end so let's talk about chronic clogging so in a case where a printer just sat on used and it was just simply left turned off in a garage but with cartridges attached and that's the key you could do what i did pro 2000 let me see if i can point over there no down there pro 2000 down there that's an r 340 this is a epson workforce 1100 for sublimation that printer and that other printer over there the r 2000 sat on use for about maybe a year and a half to two years i was able to revive them the worst one was this one because sublimation inks are hell okay to be able to redissolve and and get those those nozzles flowing again cleaning cycles followed by rest period followed by nozzle check okay and patience the patience of job okay if you understand what that means do not hurry the process do not do invasive procedures that will cause more harm than good okay on the p600 you cannot do anything but cleaning cycles or possibly soaking the printed assembly over a windex soap paper towel folded so that it fits on the platen okay you have about an inch and a quarter of space that you can fold maybe three layers of paper toweling completely flood with windex and park the print head over on top of it you have to do that by unlocking it and the way you unlock it is to turn the printer off turn it back on and as soon as the printhead disconnects and starts to move pull the plug and now you can move that printhead easily over the wet paper towels with windex the fumes of the ammonia will enter and begin to loosen your your nozzles install cartridges right away my friend do not let it sit with no cartridges good luck this is going to be a bear okay because of the fact that the print is sad like this with no cartridges on top this is a canon printhead so it's going to take you many many many attempts install cartridges preferably refillable cartridges so you don't waste a lot of ink let me see if i got one here no i don't have an example this is an r3 000 cartridge right here so basically the same the same as a as a p600 cartridge same dimensions same shape so fill them with ink do the cleaning cycle that will initially do i hope it powers up i hope you've already gotten sort of halfway through any of this and um run a nozzle check and see if you get anything see if you get anything i got nothing from this one nothing and i then let it sit over the folded paper towel with ammonia um hours and then come back do another cleaning cycle you all know if you look at the sponge on the right side where the parking station is i say sponge is not really a sponge it says porous ceramic sponge it's a solid but porous ceramic sponge look to see if you see wet ink being sucked because the printhead will park over to the right it will do a silent application of vacuum it will detach move to the right to the left i mean and then you will hear the pump trying to suck away any liquid ink that it may have sucked from the printhead okay when you see wetness that looks yellow magenta cyan black and so forth then you know that ink is actually flowing again to the printer if you see nothing but a dry sponge then not yet not yet so you park it over that over that um wet paper towel you will go through a whole roll i went through a whole roll of it okay now epson printheads are tough as nails so be still be careful with them though but they are tough as snails you cannot inject cleaning through the through the printhead this is a stationary cartridge printer they have inclines they're connected to internal dampers in the printer you cannot do that you have a black ink switch valve which is probably dried up okay be aware of all of these problems if after about a month you get no positive results it might be it might be time to lay it to rest okay and and go with a newer printer did i not clean my glasses i don't know i keep putting so yeah that's that's i got to that point where i was ready to trash that one and it was because my grandson had spent the weekend with us that i was able to just kind of disregard it for the time being i wasn't going to be messing with it while he was still here but then afterwards i try again and lo and behold i started getting some positive results so it may take you several weeks to achieve any kind of visual improvements do not do deep cleaning cycles if the printhead is clogged nothing's going to happen you could be applying vacuum and creating more harm than good so don't don't push the issue okay again slow and easy slow and steady okay let's go ahead and set up to print something let me save this so what i'm going to do let me see if i can set this up right now the way that i want so i'm going to right click and remove that we're going to go ahead and go to the print and i'm going to choose 8x10 and i'm gonna then put this on top i just moved it to the top just a manual repositioning of the print that way i have enough room for another down here and we'll go ahead and choose the xb15000 should have done that from the beginning where is that puppy at right here we're gonna have um print on on tabloid 11 by 17 paper i'm going to use the rear paper feed i'm going to use premium photo paper glossy setting and i'm going to use the epson profile and remember i'm using pc ink so the results may not be as neutral as they're going to be with the custom profile that i made let me let me let me change this whole because we're not we're not really worried about the actual results of color per se we are more worried about um getting a match i just opened up the wrong thing here i need file so i'm going to go to my pictures folder and say i'll pick some of the um photos that people were sending me way back in the day viewer images we'll pick australia i love those maybe maybe spain we'll do some spain photos we'll load those again using um 8x10 because i want it to fit i want to be able to fit two of them i'll choose i don't know how about this move it to the top that way i'll have room because i'm going to do a little bit of a tricky uh situation here so i'm going to choose the correct paper i mean the correct profile so premium glossy as if i was using premium photo paper glossy from epson i'm using a sub so the results are going to be slightly different because of the profile mismatch but i need to print on the same exact um shall we say profile so i am choosing cue image i'm telling you image to print with that profile remember key image has automatic automatic color management okay so the next one we print i'll move it to the bottom and we'll choose the driver and see if we get any different results between the two prints so let's go ahead and hit print we're all set up right now the driver says i am on 17 by 11 by 17 rear paper feed portrait premium paper glossy color standard quality increase the quality to high um yeah we're good to go and we will hit the print button behind the little duck and okay and that should begin printing once it loads it's going to advance the paper print that first portion and then when i print the second portion basically it's going to be the bottom part of the paper so we're going to slide that down it's beginning to print okay the print is becoming alive and we'll slide this down beyond the original so then the bottom one is going to be with just the driver just the driver controlling color folks we're going to change the situation here to let the printer driver manage color we'll see that it has been changed now the drivers is managing color using that same exact profile we'll wait until it's finished and we'll feed the paper once again to it let me go back to me while it's printing we'll keep our eyes on it i'm not going to look at it i'm going to go ahead and refeed it back to the printer we'll load the second image using the driver this time again it's believing that it's going to it's using the same profile from epson xp 15000 for that particular paper choice regardless of the fact that we're using some other brand we want to see if the two images differ okay the top image when we look at it in portrait mode the top image will be printed through color measurement through cue image using the same profile the second image will be disabling color management and q image but having the driver automatically link it okay using icm we'll see we'll see what the results are let me make double sure that that's what's happening i want to make sure that it is indeed letting the driver using those i mean icm it's a little bit weird in the um actual um [Music] yeah it's using icm let me show you that as you can see i see him right there so that's what q image does for you it's amazing amazing the way it does that automatic for you no problems at all you cannot double profile even if you tried that's wonderful that will that will eliminate the probably the most common other than the my print is too dark which is what everyone experiences because they're monitored of course like like richard said too bright is it you have to under you know you have to underexpose a little bit to be able to get the correct results so here's the first one let me go ahead and load the paper back again the same orientation we are looking for a difference in output okay what am i messing up here got too many cables all right so let's go ahead and print that go back to share the screen we have it now situated at the bottom and we will go ahead and print again double check let the printer driver manage color we saw that it was icm same paper same everything i assume is the same quality too so let's go ahead and press print and we will analyze the results right here whatever we get is what we get see if there's any truth to this um theory that different applications or ways of printing will produce different results so it's advancing the paper i think it's gonna be a i don't think that's gonna work i think the printer got confused you know what it's doing it did not advance it correctly we'll see i think there's going to be some overlapping that's bad we don't want that to happen i'm going to go ahead and cancel that job we'll get this we'll get this done correctly i'm gonna have to do one print upside down and one print right side up i don't know why that happened you printed it overlapping over the other one that's not correct so we will get rid of this i have had problems with the xb15000 getting confused that way and again i don't understand why so we'll repeat this we still have some time left no problem we will let the top one just be the one that's controlled by the uh driver since we already have a setup for and then what i'm gonna do is i'm gonna leave the the orientation of the image the same i'm gonna flip the paper over i'm gonna just flip the paper 180 degrees because i don't know what's causing this um confusion you see what i mean errors crazy errors can happen it's not just you guys me too then we'll make a direct comparison things happen so let me show you here so we got the progress bar and everything is okay this area here this is fusion right there that is the new um shall we say interpolation that it uses is quite amazing the level of quality that you can achieve with that setting make sure that we still have eight by ten chosen here we do so what i will do is i'm gonna flip the paper that way there's no way that i can mess up i hope i'm going to flip the paper like that so that should work the idea is to find whether either method can be relied upon to produce identical results because theoretically you're still printing through the same profile okay you're just letting someone else handle the color but it's still going to use that profile either the driver automatically links it to it or the application manually links it to it in this case it should be identical let's let's just wait and see bear with me one more half a minute here we'll have that emerge and i will flip it over this time i will feed it 180 degrees since i have not changed the orientation of the image it should work so here it is looks great the second half should be able to be printed right on let's make let's go ahead and change our settings make sure that we get that correctly done we're going to ask the the application to use the xp the epson xp 15000 premium glossy profile settings have been changed and proceed to print so everything else remains the same that's the whole point of this little exercise demonstrations take time to do when you see them on on youtube they usually speed up the video but you know that's something you have to understand okay is it beginning to print in the right orientation this time so the when i show you the print the one on top will be the one that was printed how let me make sure with the driver and then the one on the bottom will be the one printed with key image using the profile so they should be pretty much identical people were making comparisons about the fact that they have different levels of shadow detail and that type of thing wasn't so much color difference but the level of shadow detail this is a good image because it has a lot of dark shadows in it as you can see let me move this out of the way look at that right there you see that now that may reproduce just fine who knows we will see again i'm not using the custom profiles so the results are not going to be as good as they would have been with my profile my custom profile that i made for that combination of printer paper and ink but i printed last week i did a standard image in gosh i couldn't find any any kind of a fault with it where did i put it here it is again so be aware that this is being illuminated by the monitor really and a little bit from my led light source but it is indeed absolutely neutral and beautifully rendered and if you can do this with this almost almost a torture image imagine what you can do with your normal images and that is the xp 15 000 with x with ah pc inks now yesterday i topped off my cartridges they were all around 24 ish grams and all they needed was 3ml of ink all right so here we go so top is what is it the driver bottom is q image you guys see any difference look at the detail of the shore is all represented the way you see it let me see if i can load this somehow no wait a minute right here okay back to me and again this is not a match in color because it's not a custom profile but the two images printed identically let's look at it this way look at the quality of that gloss it's amazing so the two images printed beautifully i love the way they came out it's just they're not a match because of the custom profile i use the non-custom profile for epson premium glossy not sub a but that's the only way i could have gotten away with this because epson does not allow me to choose a custom profile when i choose the driver it will not allow me to do that so there you go i got identical results using two different methods one was letting the driver control color and one was letting the application control color using the same profile in both both instances okay so that that's that's it that proves i was hoping that would be the case i didn't know for sure okay i didn't know for sure but i love the way that that came out that's beautiful actually now that i look at it visually let me see see this monitor that i am using here is not calibrated at all let me look at this of course my room is dark as hell right now so very difficult to see but yeah very nice and again it's identical if i trim these off into two halves i can close down q image now if i trim that in half so that i got both images side by side no one would be able to tell the difference between any of them they will look identical yeah i probably did that i probably did then so as you can see now it's it's it's it's proven that it doesn't really matter how you print an image whether you do use the driver so here here's the moral to this whole little exercise for those of you who feel superior because you know how to use color management letting you image do it letting photoshop you know print or control color letting lightroom control color or whatever you use to control color because you know how to set the driver correctly to no color management and let xyz editor print through a color profile i mean a paper profile yeah exactly the same results folks printing with the driver printing with full with cue image which would be the same as printing with anything else okay the results were identical theoretically you're the same color management process is being used in one case the driver is doing it for you and then the other case you're doing it manually through a editing application and editing application except your image will automatically set your driver correctly so that may be that may be the cause of this so-called problem where you're getting two vastly different results okay that may be the case you let the driver control color then the driver is controlled controlling color you let cue image control color then the driver better not be controlling color except for q image the driver is never going to control color if you let q image do you see what i mean it's automatic um disabling if you will of that functionality in the driver that turned out to be correct and i'm glad that i was able to match that i'll have to tell mike of course he knows that anyway alrighty anything else folks if not we got like 10 minutes to go here normally we stay a good three hours a little bit over trying to think of something else that i may have missed let's see what we got here in facebook by the way i may have mentioned last week about being very careful with the uh language that you may uh choose when you are commenting on my videos because they are extremely finicky as to what they allow and what they do not allow so i found a bunch of questions that had been uh kind of uh blocked and put in a special folder for me to approve and i was able to reload those and those i will deal with those a little bit later i will get back to the actual posters but let me let me quickly show you this since we got a little bit of time left um and there are some of you out there that may be a lot more knowledgeable when it comes to this this is the general um head alignment process that takes place when you are printing on a pro 1000 and my canon program 1000 creates thin white lines when i perform print head alignment any ideas how to solve this is that even a problem well when an auto printhead alignment system produces that kind of line see right here that just means that it needs to be addressed and it will automatically do that for you if you were doing this manually in a manual mode then you would definitely not choose that one you would choose one that did not have the line and they would have these little number codes that you then enter in your printer driver or your printer screen but yeah this is nothing really to worry about as long as your nozzle check is perfect that just means that in that instance that particular section has to be realigned and it will do that for you it will do that for you automatically so don't don't be too worried about that but that you know what i told the person was hey listen check to see what happens when you actually print let the alignment continue let the alignment finish doing its thing and then proceed to print and see if at all you get a weird effect okay so that's the whole image right there all right let me go back to me so that is something you know printers that have auto head alignment function basically are just synchronizing the paper advance with the width of the amount of ink that is laid down that's all it is and there is like a little gps built into most printers it's called the encoder strip it's a little strip that feeds to a sensor in the back of the printhead is stretched between the lateral size of the printer in the rear wall and it has little micro lines etched in it so it knows its position at all times and that's critical as well but primarily what it is doing is making sure that the paper advance equals the amount of inkling down so that the next pass does not overlap or create a gap so there in that particular situation you saw some gaps you saw that white line so once you have that synchronized then you will get nice prints without any banding at all and you don't see any banding whatsoever i just recently after i did my refill yesterday i ran a head alignment and again i can print even in low quality and you will not have any banding because the synchronization of the layman of ink is never going to overlap the previous one or not advance enough in other words all right the paper advances a little bit too much like a hair maybe one pixel line too much you will have a white band on your actual prints art says christmas gift of likes would be nice folks yeah now next next sunday what day is that that would be the 26th and then we're going to have a january 2nd live stream i hope i don't know what we're doing maybe nothing maybe something who knows what the family has you know planned but i should be able to be here and i know that um you know once oh oh important so i got a call yesterday this is concerning like possible guests uh it was mike mike sent me an email says can i call you tonight i said sure you can call me any night so the 16th when was that thursday was the last shipping date for products so if you had made an order it would have gone out on the 16th and then they close down the shop until the second of january they will reopen again actually that'll be on the third yeah so the third that will be monday they'll be back so right now they're on vacation we had a nice little chat and i discussed um oh i know what we can talk about i will talk about what we've discussed so i found out and i attempted to do this last time and it was a failure i realized what i did wrong and i managed to to reset that p900 cartridge then i proceeded to take the valve apart and i modified it for refilling so if i ever get a pe900 i will test it to see if it actually reset but i don't think it does not for the american units so european folks that own p900s yeah you can probably do that but what's the point of a resetter what's the point of resetting your oem card switch even if you could modify it when very likely you will have refillable cartridges sold in that part of the world because it works apparently it works there's no need no need to reset those chips really is no point now if the so-called waste ink cartridges for the p700 p900 can be dismantled and repacked then maybe maybe the resetter is something that you could use where do i have it i got three resetters here this puppy right here the one i try to use mistakenly that's the maintenance cartridge resetter so maybe you could then uh at least utilize those and who knows it might actually work on us machines because i can definitely reset the p800 cartridges i just cannot the p800 wasting cartridges after i repack them i can i cannot do that with uh the cartridges themselves so nice to know if you're in europe you know if you could get if you got a good friend and uh willing to spend the money i assume you could buy a european p 900 and have it shipped to you it will cost you a fortune but then you'll have the freedom of at least modifying those cartridges yourself and resetting them as needed and then you refill them normally with a special refilling tip you can get and you know load them with whatever ink you choose the beauty of that is that you have cartridges that are not your third-party type variety and these cartridges have internal ink bladders ink bags and it's a lot higher level of reliability ink flow system is not like these refillable cartridges yeah they work on the p800 okay they're just not as reliable as original ones would be all right we are one minute away anything else we don't have any more questions just let me let me just say thank you if i don't see you guys uh if you guys are busy next you know a couple of weekends i understand not a big deal um people have a lot of christmas activities or any holiday related activities and you may not want to want to hang out with me for three hours in the next couple of weeks but i'll be here we'll continue to put on the show and we'll see what the next year brings i hope a lot of good news i hope we get a little bit of a relief you know where in the uh covet situation because i certainly would love to travel at least go back to my home country i haven't been there for 45 years so it's about time all right thank you so much don't forget to subscribe share and like merry christmas happy holidays to everybody and we'll see you the next time yay whoa that was loud bye bye everyone say goodbye don't forget to say goodbye [Music] so [Music] me [Music] so [Music] you

Channel: Jose Rodriguez Photo Printing Techie

Views: 522

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Id: H8I7EKJBkgQ

Length: 182min 12sec (10932 seconds)

Published: Sun Dec 19 2021