Digital BW, The Print

I remember a thread ages ago that centered around the yellow ink in
the 2200, saying that it was the most succeptable to met'.  I assumed
that prints made with the newest driver for the 2000p were so blue b/c
it eleminated much of the yellow ink for the same reason. Whatever the
reason, I much prefer prints from the older driver, even with heavy
color shift. Most people, as far as I know, only have incandescent
lighting in thier homes anyway, so this sounds like kinda kooky logic
on the part of epson. Of course I could be totally wrong.

john



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla
<E.Dinkla@c...> wrote:
> claudej1@a... 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