We want a negative that will print - with the exposure time determined in Step 1 - PERFECT WHITE (Photoshop 255) and PERFECT BLACK (Photoshop 0) while showing tonality at 5% and 95% black . During this step it is MANDATORY that the exposure derived in Step 1 be maintained!

While Step 1 is analogous to what Fred Picker described as determining the exposure for the "Proper Proof" print, Step 2 represents finding the development needed to produce the perfect negative density (remember "Expose for the shadows, DEVELOP FOR THE HIGHLIGHTS").

Graded silver halide photographic paper is designed to be sensitive to a limited spectrum (that's why safelights work). Variable contrast papers have multiple emulsions typically sensitive to blue and green light. An excellent explanation of the sensitivity of Ilford Multigrade papers is found HERE.

Ink jet printers, provide a finer and smoother dot pattern with colored ink than when printing with only black ink. An experiment with colored ink will quickly demonstrate the effect of the various colors (including the mix producing a grayscale) on the photographic paper of choice.

A grayscale was colorized with the Color Picker to hues representing 30 degree intervals on the color wheel. The resulting "negative" was then contact printed on Ilford Multigrade FB paper with the "mirror image" results shown. Hue = 60 (yellow) has little effect in blocking exposure to Ilford MGFB. Hue =180 (cyan) is the least effective in blocking exposure. Hue = 300 (magenta) clearly is the most influential in determining contrast.

My original experiments and negatives were made with HUE=0. The description below applies regardless of the basic color chosen. I currently use HUE=300 which eliminates the presence of yellow dots.

If HUE=300 (MAGENTA) provides too much contrast for the Epson Photo 1200 printer, and is just right for the Epson Color 740 printer, perhaps the difference is in the amount of ink deposited. To test the theory, I repeatedly printed a test block of HUE=300, lowering by 5% the setting of the 100% value in the Transfer Function (Page Setup>Transfer Function). This reduced the amount of ink deposited at each step.

I then made a photographic print of the blocks after placing an opaque strip down the middle to provide a reference for maximum white. My test with my Epson Photo 1200, Epson inks, and HUE=300 (MAGENTA), indicated that the first area in which the test block was indistinguishable from the white reference strip, for Ilford Multigrade FB paper was somewhere between 75 and 80. I made a second series of tests varying the Transfer Function from 75% to 80%.

The Transfer Function screen permits the adjustment of the curve by either entering the individual values, or "pulling on" the curve at the various points. When used for the purpose described here, the line remains straight, altering the image by simply depositing less ink overall. The illustration shows a setting of 70%, found effective for negatives made with Epson Photo Quality Glossy Film with RED (HUE=0) ink, when printed on Ilford Multigrade FB paper, As shown above, magenta ink requires a slightly higher setting - 80 seems to work.. These are MY results, with MY equipment, and MY supplies, Yours WILL differ.

Two negatives were made of the Merry Go-Round image, the source for which is shown here. Both were colorized with the Color Picker. NO Adjustment Curve was applied to either - although obviously needed!
HUE 300 ONLY magenta ink Transfer Function set to 80%	HUE 120 ONLY cyan and yellow ink no Transfer Function
Prints made using exposure time to provide "perfect black" as determined in Step 1.
Print made from the green negative, using 60cc magenta filtration to increase contrast. Exposure increased for "perfect black".

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