Digital BW, The Print

Paul and Joshua,

Thanks for the reply.  Clearly I've got a lot of learning to do.  I've read over most of your 
webiste Paul, and also all of the articles on Clayton's website.  Thanks to you two I have a 
much better handle on what the options are and how to choose the right printer for me.

It seems like if I go with the r220 I will need to get used to the concept of a greyscale 
workflow and then toning the print using Paul's curves or variable ink and slider 
adjustments.  This is new for me, as I've been using an RGB workflow and printing toned 
B&W prints with color ink.  I understand that this isn't the best method, with the possible 
exception of the K3 printers.

Since I am very new to a greyscale workflow, can someone point me toward a website or 
book that could help me with that?  For example, I'm not at all sure at what point in the 
B&W conversion process (from my color RAW file) I should convert from RGB to greyscale.  
This is just one of my questions, but there are others.

Another question that may help me decide on a printer: with the K3 printers (2400 in 
particular) is it recommended to also use a greyscale workflow for B&W prints, or is it 
possible to get good prints using an RGB workflow and applying any toning in RGB color 
space (rather than using the sliders in the Epson driver or Paul's curves)?  How about the 
2200 in this regard (though it uses the UC inks rather than K3 and is thus not as 
"archival")?

Thanks again,
Chris

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" <paul.roark@...> 
wrote:
>
> Chris,
> 
> >... More often than not I finish with a sepia, silver, palladium or 
> > other tone ...
> 
> >... The Epson r220 (or 1280/2200) with MIS inks sounds 
> > like a very affordable and high quality solution, 
> > but if I understand correctly (and I'm not at all sure I do) 
> > I would lose the ability to print toned photos.
>  
> > Or at least I would have to learn a different method than 
> > I am using now (working in RGB color space).
> 
> With MIS B&W pigments you can "tone" prints, within limits.  For sample
> tones see http://home1.gte.net/res0a2zt/V-tone.html
> 
> The UT-R2 inkset has 2 tones of ink -- neutral/cool (depending on paper) and
> carbon.  The workflow that most use is to put in different combinations of
> neutral and carbon carts to achieve the tone, including split tone, that you
> want for the particular photo.  For more inforation on the R2 inkset, see
> http://home1.gte.net/res09aij/R220_R2_Readme.pdf 
> 
> The variable-tone inksets like the UT2 do this with curves.  See, for
> example, http://home1.gte.net/res09aij/UT2-Readme.htm
> 
> The UT2 and UT7 inksets have a range form cool to sepia.  The UT-R2 and 3D
> normal warm end is carbon, which is about half way to sepia.  The UT2/UT7
> sepia ink, however, can be used with either inkset in the 220 or other
> printer to make a sepia print.
> 
> For more information on the inksets and workflows I've been involved with,
> see my index at http://home1.gte.net/res09aij/
> 
> Hope this helps you get into B&W printing.
> 
> Paul
> www.PaulRoark.com
>