Digital BW, The Print

"edward wiseman" <pahts@...> wrote:
>
> ...The 1400 does have curves (from Paul Roark) that you can apply, and then use the Epson Driver with nice results..But I am not able to get the degree of warmth I could get using the 1280 work flow,...


For the UT2 and UT7 inksets I made a sepia toned ink for the Y position that was mostly composed of MIS yellow and magenta pigments.  Unfortunately, in fade tests and my practical use, it faded more quickly than I was comfortable with.  So I stopped using it in the UT14 inkset.  

If you wanted sepia you could put the UT2/7 sepia (Y) ink in the 1400 in place of the gloss optimizer that is in that position now.  However, you'd have to re-do some if not all of the profiles.  Also, as with the UT2 and UT7, if you use the Epson driver workflows you might end up with a bit more warmth in the deep shadows from the sepia ink having to be "turned on" to get the black to be used.  That is, I don't recommend this unless you are proficient in QTR.  I also don't recommend the UT2/7 sepia ink for any image where longevity is an important criteria.

If you use the UT14 LM-M (warm carbon) on Museo Silver Rag you'll have a nice "sepia" tone that is not quite as deep a sepia as the UT2/7, but it still does the job and, being 100% carbon, is nearly bullet proof.  Some of my old photo reproductions that use this carbon & Museo Silver Rag are in an outside public display in Solvang, CA.  We'll see how these un-sprayed carbon prints hold up there.

Paul
www.PaulRoark.com