Digital BW, The Print

Hi,

If you need inexpensive carts for the 1400, I've bought a cpl of packages
of these (to have swaps ready). It's the same as you buy from MIS, but in
EU and still a good price:

http://www.ebay.co.uk/itm/Refillable-Empty-Cartridges-for-Epson-Stylus-Photo-1400-Stylus-P50-E7-/321145551632?pt=UK_CamerasPhoto_Printing_PrinterInkCatridges_JN&hash=item4ac5c43b10



Cheers
/JF



--
http://felinik.com
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2013/7/26 luxlebis <luxlebis@...>

> **
>
>
> Thank you Paul,
> I will first get the Printer and the empty cards from farbenwerk.com.
> Ithink I start with UT 3d first cause I have it here. I'm then going to
> try to
> mix my own Carbon 6. This looks economical. Yesterday I compared my first
> prints from the sigma with darkroom prints from a 6x7 APX 25 and I think
> they are
> sharper and have nearly the same detail. Looks great.
> Marcus
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Paul Roark
> <roark.paul@...> wrote:
>
> >
> > Marcus ... <luxlebis@...> wrote:
> >
> > > **
> > >
> > >
> > > ... which would be the best route for me to go with an Epson r1430
> > > converted to a black and white only printer. [?] ...
> > >
> > There is not one size fits all. A very flexible inkset like the UT3D or
> > the UT14 can help identify what types of papers and what print tones/hues
> > you like best. Most then focus on one thing. Once you determine your
> > preferences, then having a system that focuses more on that particular
> > print type makes sense.
> >
> > ...
> > > I´m already using the UT3d inkset in an r285 (r290 in US I think,I´m
> from
>
> > > Germany). I get very good results.
> > >
> > ... I use the Sigma dp2 merrill for my b&w photography ... I think I can
> > > nearly get a r1430 ...
> > >
> > Those files are amazing. Going to a very sharp 1430 is a good idea.
> >
> >
> > > I read online about K7 vs. Eboni 6. Has eboni 6 really the 6 different
> > > dilution advantage like the cone inks (concerning resolution)?
> > >
> > Yes. In both cases the printer and paper are the limiting factors, not
> the
> > inks. The Eboni-6 has the longevity advantage over all but the Cone
> > Carbon Sepia, which is essentially equal to Eboni due to being 100%
> carbon.
> >
> > In terms of apparent sharpness and dynamic range, dyes on metallic paper
> > set the benchmark, in my view. But they are not in the same archival
> > league as 100% carbon.
> >
> >
> > > In Germany there is an inksupplier called farbenwerk.com from where I
> got
> > > my UT3d set some years ago. They sell a 100% carbon matte set to
> > > (carbonprint museum), does anybody know if that is eboni6 ?
> > >
> > I don't know but will try to find out.
> >
> >
> > > With the UT3d inkset I have the opportunity to switch between matte and
> > > glossy printing. I get very good prints on the Ilford mono FB paper.
> But
> > > for the 1430 I think I will go for a matte set.
> > >
> > When displayed behind glass, the differences between glossy and matte
> tend
> > to be minimal. When hand held and not glazed, most probably think the
> > glossy prints are sharper and have higher dynamic range. This is largely
> > about display conditions and reflections. So, the target display setting
> > matters.
> >
> > As a practical matter, if you buy a set of carts first, you can see if
> you
> > like the inkset before investing too much money into it. The 1400/1430 is
> > a very flexible platform.
> >
> >
> > > I read about Paul´s way to mix a matte set, but have problems to get
> all
>
> > > the ingredients here in Germany. Has anybody done that in
> Germany/Europe
> > > and can give me advice?
> > >
> > There are some there. My recollection is that some have used Photo Flo
> 600
> > instead of 200, and it works in the generic base (see
> > http://www.paulroark.com/BW-Info/Ink-Mixing.pdf for formulas). I think
> > most have still purchased the Edwal LFN from B&H in New York. It comes in
> > a 4 oz. size.
> >
> > Paul
> > www.PaulRoark.com
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>  
>


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