Before you proceed, set up your Grey Balancer file. I did this by following the instructions in the excellent review by Vincent Oliver at photo-i.

I couldn't get a satisfactory colour match in the "tortoise shell" target using SuperPhoto 2880 dpi, so just stuck to 1440 dpi. My settings were as 8. below.

I would like some feedback from others who have tried different settings.

I didn't find it necessary to go to the Additional Adjustments in the GB software

1. Edit the images as required.

2. Change the image to greyscale using Image/Adjust/Channel Mixer.

3. In Channel Mixer, tick the Monochrome box, adjust the contrast with the RGB sliders and
brightness with the Constant slider as required and click OK, or you can use the Channel Mixer
Presets found in Photoshop. Norman Koren uses Transformation, Color, Monochrome in PWP,
instead of the Channel Mixer in Photoshop. I have tried this with good results, although I don't
use the red filter for people shots.

4. Convert to greyscale - Image/Mode/Grayscale.

5. To print the image in Photoshop - File/Print Options (Print with Preview in Photoshop CS).

6. In Print Options, tick Show More Options. Choose Color Management. In Source Space, choose
Document. In Print Space, choose Printer Color Management. Tick Scale to fit Media, or not if you
don't think the image will be cropped (the thumb nail in the left of the box will show what
happens).

7. Click on Page Setup to take you to the printer driver settings box. Choose the Printer and
Orientation, then click on Properties. I always do a Utility/Nozzle Check at this stage.

8. In Properties use the same settings you used for creating the Grey Balancer file.

Mine were:-

Custom/Advanced
Media Type: Archival Matte Paper
Print Quality: 1440 dpi
Microweave: On
High Speed and Edge Smoothing: Off
Color Management: Color Contols (left at +0)
Mode: Automatic
Gamma: Left at default 1.8

When you have done, click OK twice to take you back to Print Options.

9. Click on Print. You may get a message saying the image is larger etc. Click Proceed.

10. In the Print box, check the details match your preferences i.e. Print Quality: High, Source and
Print Space as before, then click OK to print. If you checked Print Preview in the Properties box
you will get the Print Preview box. Click on Print.

I have also tried the above using Picture Window Pro in lieu of Photoshop and find it easier to set up, although I still use the Channel Mixer in Photoshop. After using the Channel Mixer, I save the image, then reopen it in Picture Window Pro.

1. When in PWP, click Transformations/Convert/16 bit Black and White and click OK

2. Click File/Color Management.

3. In Color Management, choose Disabled, although this didn't make any difference whether it was
enabled or Disabled. Click OK and choose to Save Settings.

4. Click File/Print/Properties and enter the settings as before. Click OK three times to take you to
the Print box.

5. In Scale, choose your preferences as before, then click OK.

6. You may get a similar message as 9. above.

7. If you get the Print Preview, click Print and all your hard work will come to fruition.

Update

When setting up the Gray Balancer on the new PC, I thought it would be interesting to make a "profile" to allow viewing prints in daylight as well as tungsten light (ordinary light bulb to you and I).

I did this using the prescribed method and the readings on the "tortoise shell" were as follows:-

90% 35770% 24645% 15720% 046

As predicted the test print took on a slight magenta cast when viewed in tungsten light. Just a personal opinion, but I think this is less objectionable than the green cast seen in tungsten optimised prints viewed in daylight.

This phenomena, when using colour inks to produce monochrome prints, is known as metamerism.

Just for comparison, the readings for the tungsten optimised prints were as follows:-

90% 35470% 22645% 13520% 046

It would of course be pure coincidence if you arrived at the same set of readings, particularly as it is sometimes quite difficult to distinguish between adjacent panels on the "tortoise shell"

Update 31 March 2005

Metamerism may be all very well and acceptable for the occasional monochrome print for your own use, but certainly not a route you should go down where you are producing prints for clients.

With this in mind I took the bull by the horns and bought an Epson 1290 for use purely as a monochrome printer. I have also changed the camera for a Kodak DCS Pro SLR/n.

I looked at the various alternatives of grey toned inks and finally decided on Permajet MONOchrome PRO B&W Pigment Ink.

Using this combination of printer and inks with the Epson Premium Glossy paper gave a warmer tone than I liked.

I now use the Permajet Instant Dry 271 Gloss, together with the cool tone curve in Photoshop CS as the standard print.

I use the Crop, Resize, Clone, Speck, Monochrome and USM tools in PWP and the Levels and Shadow/Highlight tools in Photoshop CS

I now feel, using this combination, I can produce prints of equal quality to that I used to achieve in the dark room.