FRD,
> Thanks Paul,
> Are there any dedicated B&W solutions for the R1800 that utilizes
> all cart positions?
Not that I've used. I don't know what Jon Cone has for the printer.
> Is it necessary?
It's not necessary for the 100% carbon. However, that 3-MK core that I put
in the MK, PK and GL positions can be the carbon core for a toned inkset
just like the k3 printers. For some things I prefer it because one can use
the Blue and Red as single-pigment toners, thus avoiding the green shift
over time. I outline this starting at page 14 of
http://www.paulroark.com/BW-Info/R1800.pdf
> Will the printer operate normally if there are no color carts
> in the non-K positions?
Yes, see my note, below.
> Any clogging issues (above and beyond the tolerances of the printer)?
My refurbished 1800 was clogged when it came from Epson. MIS cleaning carts
installed for a week cleaned it out and I've had perfect nozzles ever since.
When I had to re-fill the Eboni carts for the first time last week, it took
one cleaning cycle to get back to perfect.
While I have full color in my 1800 now, a dedicated B&W printer might want
to pursue an interesting long term approach that simply leaves the cleaning
carts in the non-Eboni-MK positions. With QTR and the way I've set up the
curves/profiles, it's very easy to just copy and paste the curve points from
one ink position to another. As such, a B&W photographer could dedicate an
1800 to the 3-MK approach exclusively and probably keep it running for years
with virtually no down time. If a channel does get clogged, simply swap
places with one of the cleaning carts and keep printing. The clogged
channel will probably cure itself in a few weeks, but even if it does not,
it's not a big deal. With only 3 of 8 channels really needed, the printer
ought to run for many years before it's totally dead. I suspect this is
about the cheapest as well as most stable B&W printing option possible with
today's technology. But, of course, it has its limitations, as discussed in
the PDF. (Matte paper only, not quite as smooth in the midtones as the 2400
and newest dilute ink B&W systems, probably not as good for sepia unless one
adds more carbon, like LK and PK, and limited to 13" paper.)
Paul
www.PaulRoark.com
> --------------
>
>
> If you already have an 1800 and 2400, then given my current B&W preference
> for the 100% carbon approach with a 1.5 pl dot printer like the 1800, I'd
> set up the 1800 for matte printing with the 3-MK (Eboni) for B&W.
>
> If I had a 2400 and needed glossy color, I'd use the 2400 for that.
>
> Of course, the 1800 has a great reputation for high gloss color. So, if
you
> need that type of glossy solution, this setup would not work for you.
>
> There are a lot of variables here in terms of personal preferences. So,
> it's impossible to make a recommendation that is the best compromise for
> everyone.
>
> Paul
> www.PaulRoark.com
>
> ______________
>
>>>> >> >... In the 1800 ... you could use Paul Roark's latest 3K Eboni
workflow
>> >
>> > For matte paper printing only ...
>> >
>>>> >> > as well as a full set of UT-3D inks giving you a variety of
>>>> >> > B&W choices for both matt and glossy.
>> >
>> > I have not tested the UT-3D inkset in the 1800. If you try it, be sure
to
>> > use a rip and be comfortable making your own profiles. There are no
UT-3D
>> > inks that are appropriate for the Red and Blue ink positions. The 3D
> inkset
>> > is best in hextone printers, with the k2 machines also quite nice. When
> the
>> > Epson driver starts to throw in more crossovers it's more than PS
curves
> and
>> > the 3D inkset can deal with effectively.
>> >
>> > Paul
>> > www.PaulRoark.com
>> >
>> >
>> >
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