Digital BW, The Print

claudej1@... wrote:
> In a message dated 9/17/2004 9:12:45 AM Pacific Standard Time, 
> DigitalBlackandWhiteThePrint@yahoogroups.com writes:
> 
> 
>>Paul,
>>
>>3200K as a target for gray balance ?   I'm surprised. Where do we 
>>ever find (or need) a display color temperature like that ?
>>
>>The original drivers for the 10000 CF, 2000P and possibly the 
>>5500 were changed because the metamerism was a problem and the 
>>droplet size allowed a longer black generation to suppress it. 
>>The 9500 + 7500 never got that new driver as the droplet size 
>>wouldn't allow it. The 10000CF that I have here shows that long 
>>black generation and it isn't nice. The printers mentioned were 
>>all to be used for the graphic market too so I guess 5500K as the 
>>color temperature is much more likely.
>>
>>Ernst
>>
> 
> 
> I remember, at the PPA digital cafe in 2000, the Epson prints on display, 
> made with the 9500 or 2000P with archival inks all had tungsten lights on them on 
> the easel. Methinks Paul is correct. When I made canvas prints from the 9500 
> OEM Archival inks, they looked best in Tungsten light with the canned profiles 
> from Epson.
> 
> Claude

Whether they looked best in tungsten light doesn't implicate that 
the ink settings + profiling was done at 3200 K.  It is more an 
indication that the system in total had a colour fidelity problem 
that was less significant at the warmer color temperature.
At the Drupa around that time when Epson introduced the Archival 
CF ink they had a poster with all kinds of fifties items in it, 
those fiftees colors were excellent with the CF gamut. It also 
made me aware that something fishy was going on. Even with the 
new drivers you didn't get the gamut that Generations 4 could 
deliver with the 9000.  I find it hard to believe that Epson ever 
tried to balance a colour ink set to 3200 K,  it doesn't cure the 
gamut problem and makes the metamerism in  practice worse.

Ernst