i'm glad you stuck with cj.

rumor has it the quality lies in the printer "profile" of the output device.
i'm looking to do this digital capture and output on canvas on an oversize
printer. intelligence tells me the hue saturation and gray tone values I
seek are unique to an optimized "profile", like you said the seasoned output
device owner who knows his hardware...the "pro" not the owner of the bad ass
machine but the craftsman who's wielded his eyes to his extension. his true
offering is this.

are you scanning big ones drum style like CD infered? my perosnal opinion is
if you are going to print digital, capture digital. if you are sticking to
vintage negs, use litho technuques.

i used to take b&w photos and have them printed with one tone of each C, M,
Y, K. good stuff. how about:
http://www.apple.com/aperture/
i had the app and did my menu fishing, it was for the advanced photographer.
you might like.

On Thu, Feb 4, 2010 at 7:25 PM, Chris Jones <[log in to unmask]> wrote:

> On Thu, 2010-02-04 at 09:34 -0800, Catherine Daly wrote:
> > also, I do not know of many pod printers that can handle printing high
> > resolution, or offer a variety of appropriate paper
>
> POD printing can almost match litho offset for monochrome. The problem
> is colour shift since pod needs to print monochrome as full colour to
> get the quality somewhere near litho offset. Hence my original idea of
> doing 10x8 RC, selenium toning and scanning in full colour, RGB or
> whatever, the pro labs generally know what to do here.
>
> However it does appear that gravure may be still the only better option
> to both digital and offset. Disappointing since I had some ideas that
> may have worked. The other interest is A0 print sizes which may be
> easier with digital then the wet chemical darkroom method. Again this
> seems only possible from a 10x8 RC print. Anyways, interesting limits
> which I had not anticipated. How to work with such a primitive
> technology not even Benjamin had anticipated.  best cj
>