Digital BW, The Print

"johnny999_99" <johnny999_99@...> wrote:
>
> 
> I got a 1400 printer and ordered the UT 14 inkset.  But, with the current low price on the 1100, I am wondering about a setup where I dedicate one of the printers to gloss and one to matte.  I am not opposed to just running through the UT 14 and refilling, soooo....
> 
> What is the current thought on the ultimate two printer B&W set up?  I am okay with mixing dyes, I think.



I currently have Eboni-6 in the 1400 (http://www.paulroark.com/BW-Info/Eboni-6.pdf) and Noritsu dyes in the 1100 (http://www.paulroark.com/BW-Info/1100-Dye.pdf).  It  could be the other way around, but mixing a single Noritsu LK (30%[13% M + 87% K] + 70% clear base) is a lot simpler than mixing a full hextone set for the 1400.

I don't claim this is some ultimate setup.  It just is where I am today.  I just printed a 17" wide panorama of Paris (see www.PaulRoark.com) that is 10,700 pixels wide.  On the metallic paper it is amazing -- detail freaks will love it.  This is quick and easy, but probably not what I'll be selling.  (Though I am exploring un-glazed B&W dye display options.)  I think the Paris panoramic deserves Arches uncoated, with traditional B&W fine art display.  I'll do that first on the 1400, which does the best Arches with Eboni-6. So, there are several reasons for me to keep that printer as is and use the 1100 for the glossy B&W dyes.

By the way, I was thinking of changing the formula for the clear dye base, but I don't have the time for the testing at the moment, so I'll put the old formula back on the web.  It works extremely well.  (If it ain't broke, don't fix it.)  I've been trying to find a way to open this dye printing up to more people (and lower costs), but really, the WF 1100 and WF 30 are so good and easy with the LK mixed with the current base that I just don't have much incentive to do more. 

Paul
www.PaulRoark.com