TMS 2009-04a Fujicolor Crystal Archive Digital Type DPII
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• For QSS 35 plus and QSS 37 series
1. Insert the Profile Data Vol.3 ver 1 N.2.11
CD in the CD-Rom drive.
2. Run Setup.exe from the CD-Rom
3. Follow instruction on screen. (see also
manual of Noritsu)
4. On the Order Display, click F button >
Menu > Extension > Setup > Laser Setup >
Paper Specification Registration/Set up.
Select paper number 160.
Please refer to the following calibration data as a
general guide when using the FUJICOLOR
CRYSTAL ARCHIVE DIGITAL PAPER TYPE DPII on
a large-format digital printer
.
1. Durst Lambda
Dmax. Aim
glossy/lustre
Dmax. Aim
matte/silk
Basic
Calibration
R = 2.35
G = 2.35
B = 2.25
R = 2.25
G = 2.25
B = 2.15
Y =124.0
M =95.8
C =0.00
D =129.0
Durst Theta 50/51
Dmax. Aim
glossy/lustre
Dmax. Aim
matte/silk
Basic
Calibration
R = 2.35
G = 2.35
B = 2.25
R = 2.25
G = 2.25
B = 2.15
Y =170.7
M =112.0
C =0.00
D =104.3
Durst Theta 76
Dmax.
Aim
glossy/lustre
Dmax.
Aim
matte/silk
Basic
Calibration
Intermit-
tency
R =2.30
G =2.30
B =2.20
R = 2.20
G = 2.20
B = 2.10
Y =0.006
M =0.085
C =0.000
D =1.325
R=101
G= 56
B= 42
Durst Epsilon 30 Plus
Dmax.
Aim
glossy/lustre
Dmax.
Aim
matte/silk
Basic
Calibration
Intermit-
tency
R =2.30
G =2.30
B =2.20
R = 2.20
G = 2.20
B = 2.10
Y =0.004
M =0.056
C =0.000
D =0.920
R=90
G=50
B=37
2. Oce lightjet
The calibration targets for the OCE Lightjet 430,
500XL and 5000 printers can be downloaded from
the following URLs (websites).
https://ftil-trl-tm.info/
3. Polielettronica Laserlab 50/76/127
Use the auto calibration tools for setup.
This paper is designed for use with Fujicolor Paper
Process CP48S and CP49E or RA-4 type
processes
Since prints are usually used for the long-term
recording of images, as much effort as possible is
made to use materials that exhibit the least amount
of change overtime. But the effects of high force
during folding, light, heat, oxygen in the air,
contaminating gases, humidity and mold cannot be
completely avoided. It is advised to use low forces
during assembling the album. Also the change in
the photographic image or base material are
minimized by maintaining the appropriate storage
conditions for prints, such as those used by
museums and art galleries. Temperature and
humidity control is the most important key to
minimizing the change that occurs in prints. Prints
stored in the dark under the following conditions
may be expected to show almost no changeover
time.
Storage period with
almost no change
Temperature Relative Humidity
More than 20 years Below 10°C
(50°F)
30% — 50%
10 — 20 years Below 25°C
(77°F)
30% — 50%
Notes on Prints Storage
1. Prints should be inserted into albums,
mounted, or placed into a bag (plasic*) for
photographic prints before being stored.
*Made of polyester, polystryne or polypropylene plastic, etc
2. Even during normal storage, it is
recommended that prints be stored at a
place as free as possible from hot and
humid conditions, and away from direct
illumination. The following are examples of
undesirable storage conditions.
• Storage in a room closet facing a
wall exposed to cold outside air
(which may cause condensation.
• Storage in a place near the cealing,
such as an attic, the top of a closet
or cupboard (where high
temperatures may occur
3. Storing prints with their front surfaces
facing each other may result in unexpected
problems. If the adjacent print placement is
unavoidable, it is necesaary to keep the
surface separated by, for example, the use
of interleaving sheets of paper.
7. Processing
8. Post-processing paper (print)
handling/storage
6 . Use with large format printers
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