Digital BW, The Print

Paul,

After following and participating this post I just ordered the UT7 
MC2200UTK-PLUS inkset . So I decided to start using my 2200 dedicated 
for  B&W.

After installing etc. I will report on the results.

Thanks for now

Remko



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" 
<paul.roark@...> wrote:
>
> This is the approach I'm using on my 2200:
> http://home1.gte.net/res09aij/4K+.pdf
> 
>  
> 
> So far, I think the need for the rip is worth the inconvenience.  
In fact,
> as a few recent posts suggest, rips might even make for better 
prints.  For
> me, it's mostly the ease of profiling and the inkset options they 
allow that
> make the rips attractive.
> 
>  
> 
> The ease of profiling comes, in part, from the toners being very 
light (no
> carbon in them).  I totally ignore density when changing tones.  The
> linearization takes care of any impact.  There are also no cross-
overs.  So,
> all I deal with are 2 curves - LM and LLC (50% dilution of LC).  
The profile
> I use for my brightened PremierArt Matte BW paper involved only 
moving end
> points and 2 internal points on 2 curves.  The profiling and 
experiments
> took only 4 iterations from the neutral curve starting point.  That 
is way
> faster than previous blended inkset approaches would have allowed.  
The ease
> of experimenting is part of what encouraged me to try the 
brightened paper
> (the mainstream media), and the results appear superior - higher 
dynamic
> range.  See my notes on this at
> http://home1.gte.net/res09aij/PM_Split_Tone.pdf .
> 
>  
> 
> Having non-blended toners does reduce smoothness a bit, but because 
the LLK
> is lighter than the UT7 light inks, the smoothness is not 
compromised.  The
> limiting factor is the LC - which the 2400 uses.  So, with a 50% 
dilution of
> LC used in this approach, we're smoother than the 2400.  In fact, 
with the
> LLLK in the 2200, it has the lightest ink I've ever used in 
highlights -
> very questionable whether it adds anything that one will see in a 
photo.
> The other options such as glop or yellow ink might be more useful 
in the
> yellow spot.  Note that with brightened paper, I'm not using any 
colors in
> the lightest highlights.  That smoothes them out even more than the 
older
> variable-tone inksets.  Frankly, in the 2200, dots are just not a 
problem
> with this approach.
> 
>  
> 
> It's nice to not have to worry about mixing errors.  The only blend 
in the
> basic approach is a 1:1 blend of LC and base.  As you may have 
noticed in
> earlier posts, we've found that Image Specialists glop is essential 
if not
> exactly the same as MIS base (and glop).  So, all inputs are 
available
> commodities, although MIS's prices are good enough that there is 
little
> reason not to use their services and more convenient sizes.   I 
think this
> approach avoids the sources of the mixing errors.  Moreover, I've 
worked
> with MIS to get them doing QC on the LK that they buy wholesale.  
As such,
> the MIS LK should be more consistent than other third party inks.   
One can,
> of course, mix the LLC just by purchasing 2 bottles of standard MIS 
inks -
> Lc and glop - and pouring them together. 
> 
>  
> 
> Note I'm using Epson UC LM now.   I'll be doing comparison fade 
testing to
> determine which LM is the best.  One attraction to this approach is 
that it
> opens up each position to competition.  I'll use the best ink form 
any
> vendor.  Past tests suggest Epson UC LM is the best.  We'll see. 
> 
>  
> 
> I think this basic approach will work on all Epson printers.  So,
> transitioning from one printer to another will be easier and 
cheaper.  Even
> the curves are not that different.  With a rip, comparing the full-
on ink
> limit initial test pages of different printers allows one to alter 
the ink
> limits appropriately.  Once that is done, I found the basic curves 
transfer
> over from printer to printer with little alteration needed.
> 
>  
> 
> The 3800 is a "large format" design, and I think it shows the 
future.  All
> blended inks I've been involved with are unstable and experience 
tone
> changes if the carts and lines are not regularly used or agitated.  
This
> approach avoids that problem.  I expect the 3800 to be the first 
real mass
> market large format printer.  Dealing with the blended ink tone 
shifts on
> that scale is something I will not do. 
> 
>  
> 
> If we all end up going with the k3 approach, most of the inks we 
have on
> hand will be useable even in that approach.  What I've basically 
done is
> take the k3 approach and port it to other Epson printers - and 
improved it
> by cutting the LC density in half.
> 
>  
> 
> In short, this is a variable-tone approach for virtually all Epson 
printers
> that is largely compatible with where I see the mainstream going.
> 
>  
> 
> Paul
> 
> www.PaulRoark.com <http://www.paulroark.com/>  
> 
>  
> 
> 
> 
> [Non-text portions of this message have been removed]
>