Digital BW, The Print

This post has convinced me to buy an Epcon 1280. It seems this is the most
popular and widely used printer for BW output. I have a 2200, but need the
capability for color output for the advertising side of my business. From
what I've read, BW output for the 2200 is still a work-in-progress and yet
to yield universal satisfactory results in BW output, versus the 1280 which
has a ton of users and a solid track record. Am I on the right track?
Thanks!
Joe
  -----Original Message-----
  From: Paul Murphy [mailto:psmurnan@yahoo.com.au]
  Sent: Thursday, February 26, 2004 1:35 AM
  To: DigitalBlackandWhiteThePrint@yahoogroups.com
  Subject: [Digital BW] A photographer’s thoughts on digital black & white
printing:


  A photographer's thoughts on digital black & white printing:

  I started my photographic career over 20 years ago as a black & white
  printer. I spent a few years in the darkroom printing large numbers
  of prints for the photographers in a busy commercial studio before
  becoming one of those photographers. I always preferred to print my
  own b&w when I had the chance as I really enjoyed it.

  Gradually I moved away from printing and eventually digital
  photography became a working reality. I made the switch to digital
  cameras only last year when I was finally convinced the technology
  was viable and cost effective compared to film. There was a lot of
  new stuff to learn, in fact I'm still learning and enjoying the
  process. It certainly keeps my brain active and the re-education has
  focused me on the creative process more then ever.

  I got involved in digital printing a few years ago with Epson desktop
  printers.  As colour  printers they were excellent.  I had always
  sent out colour work to a lab, now it was pretty easy to get a print
  from a scanned negative that looked as though it had come from that
  lab.  I brought most of my colour work back in house. I did try
  printing black & white on these printers but was never happy with the
  result. Colour casts were the main problem, I could never get a
  neutral print and black ink only prints would never be accepted by
  clients used to those on glossy resin coated paper. So I left digital
  printing to colour work only and printed b&w the traditional way in
  the darkroom.

  Wind forward to a few months ago. I read some articles in photography
  magazines about quadtone ink systems that piqued my interest. A
  thorough search on the internet yielded a lot of information. I knew
  I was in for a whole new learning experience.

  Firstly I equipped myself with an Epson 1160 and MIS VM Quadtone
  inks. It was straightforward to set up and get prints from. I used
  Epson Archival Matte and Hahnemuhle Photo Rag paper. Ok so these
  prints were not what I was used to from the darkroom. I had generally
  preferred gloss or lustre RC finish on my black & white work. Trying
  these types of papers (Ilford Gallerie Pearl for example) led to
  differential reflections with the pigment based inks that were
  unacceptable.  Holding one of the prints from the 1160 on matte paper
  next to a darkroom printed copy is like chalk and cheese. They are
  two very different media. This is what I needed to get my head
  around. The matte print when placed under a glass frame gives a
  lovely classic, timeless image and is clearly ideal for a large size
  exhibition print. Hold it in your hand and it looks a little lifeless
  and dull, frame it and it takes on a whole new character.

  On the internet I read about a new model printer from HP that claimed
  to deliver exceptional black & white prints on glossy paper using
  their optional grey cartridge. A lot of research led me to buying the
  HP 7660. Straight out of the box I got a print that closely matched
  those from the darkroom. I have spent a few weeks running prints
  through it with a variety of papers and have found it to be a
  terrific printer. The combination of HP's Premium Plus Glossy Paper
  with the grey cartridge has been tested by Wilhem Research to have a
  lifespan of 75 years. That's good enough for my clients and me.  I
  have had very good results using Ilford Gallerie Smooth Pearl, though
  that does not have the archival properties of the HP paper. However
  if you need prints that don't need to last a lifetime it's the paper
  to use.  The 7660 is limited by its output size compared to the
  larger Epson models. Hopefully HP will release an A3+ version in the
  future. I have not used my darkroom for black & white printing since
  I bought this printer.

  My latest experience is with an Epson 1290 (1280 in the US) and MIS
  UT2 inkset. I decided to give this a try after reading about users
  experiences on this forum. Compared to the 1160, the prints are an
  improvement. Clearer, sharper images with better shadow detail and
  increased dynamic range.  I can also print on glossy surfaces; Epson
  Premium Semi-Gloss giving the best result and having, as I
  understand, an archival lifespan of 200 years. I recently went to a
  Man Ray exhibition currently showing in the Art Gallery of New South
  Wales (Australia) and was pleased to note that the quadtone prints I
  am making now on my 1290 with UT2 are similar in tone and finish to
  those on display there. The Man Ray prints date from the mid 1920s.

  So what are my conclusions? I am convinced that I can retire my
  darkroom in the very near future and totally rely on digital printers
  for my black & white work.   There are two types of print media that
  although very different in appearance, offer photographers (and
  clients) a distinct choice. The quadtone pigmented ink on cotton rag
  paper when framed under glass looks elegant and timeless.  The RC
  glossy or lustre finish dye based print has the look and feel of a
  traditional darkroom print.  I like to use both where appropriate.


  This very forum has provided me with much valuable help and
  knowledge. I must say a big thank you to Paul Roark whose tireless
  work in this area and quick response to varied requests from many
  members is to be commended. There are many other members too; who
  provide knowledgeable and ready help for those learning this often
  difficult and sometimes frustrating process.

  Paul Murphy




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