Digital BW, The Print

I set up an epson c86 with MIS ez inks  for  black and white. After 2 8x10s the head  got  clogged. I went  through an entire balck cartridge. Then I replaced cartridges and continued to try to clear with stock cartridges. I went through another black cartridge, and while it is still better there is  still banding.  Ihave ordered ink adn refill cartidges from MIS  to try again but  I want to bet the head clear before I  use it. Any ideas?
 
Bruce

DigitalBlackandWhiteThePrint@yahoogroups.com wrote:


There are 25 messages in this issue.

Topics in this digest:

1. RE: Black & White at PMA Orlando
From: "Jim Doyle" 
2. QTR for R800 AND R1800
From: "Scott Jones" 

3. Re: Light Black/Dark Black/Matte Black
From: Peter Gorwin 

4. Re: QTR and 9600 match made in heaven - Roy, thank you sir!
From: "aimforth" 
5. Non-inkjet options
From: "jtownell" 
6. Re: QTR: Great Tool ... no casts, But
From: "Johnny Eades" 
7. QTR v."f" Windows XP 2200 printer and "page eject"
From: "robert_ardinger" 
8. QTRgui, B-O, and profiles
From: john kelly 
9. Re: QTRgui, B-O, and profiles
From: "scott_now_coming" 
10. BO on R800
From: "Stephen Kobrin" 
11. Re: QTR and 9600
From: "john dean" 
12. Re: Light Black/Dark Black/Matte Black
From: "krn_ptr" 
13. Re: Light Black/Dark Black/Matte Black
From: "krn_ptr" 
14. Re: Light Black/Dark Black/Matte Black
From: "john dean" 
15. Paul Roark: Paper Question
From: "scott_now_coming" 
16. Re: BO on R800
From: "scott_now_coming" 
17. Re: QTRgui, B-O, and profiles
From: "steveabrink" 
18. Glop w/o replacing an ink...?
From: "steveabrink" 
19. RE: Glop w/o replacing an ink...?
From: "Paul Roark" 

20. RE: Paul Roark: Paper Question
From: "Paul Roark" 

21. Re: MIS or piezography=which looks less "digital"
From: "lambonick" 
22. first impressions of GLOP as an overcoat
From: "Matt Haber" 
23. Re: QTRgui, B-O, and profiles
From: "David Neely" 
24. Re: first impressions of GLOP as an overcoat
From: mehrdad 
25. QTR Problem - help needed
From: Richard Smallfield 


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Message: 1 
Date: Sun, 13 Feb 2005 17:22:23 -0500
From: "Jim Doyle" 
Subject: RE: Black & White at PMA Orlando

Hi Richard,

I will Stop Over and See You.. I will Be at PMA from Sat 19th Thru Thursday
24Th.. I be Roming around..Where I End Up Nobody knows..LOLO By The Way The
Extra Day Is for Me!! What a Change..

Jim Doyle

J. Doyle Enterprises LLC.
114 Old Orchard Rd.
Cherry Hill, NJ 08003
856-424-8660
http://www.shadesofpaper.com

-----Original Message-----
From: Richard Wolfson [mailto:rw@...]
Sent: Sunday, February 13, 2005 5:20 PM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: [Digital BW] Black & White at PMA Orlando

Will any black & white list members be at the PMA show in Orlando
February 20 - 23? I'll be there, and it would be fun to meet.

Media Street will be announcing a new black & white pigment ink set I
designed for them at the show, and I'll be doing demos and answering
questions at their booth. They'll be showing some b&w prints I made on
my Epson 7000 with the new inks, and I'll be making b&w prints in the
booth on an Epson R200. Stop by and say hello (Booth # 1955-1957) or
email me off-list for more contact info.

Richard Wolfson
Fine Art Photographer & Digital Imaging Consultant




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Message: 2 
Date: Sun, 13 Feb 2005 22:22:58 -0000
From: "Scott Jones" 

Subject: QTR for R800 AND R1800


Just wanted to say how eagerly so many of us are awaiting the QTR 
for the R800 that Roy is working on. This is such a great color 
printer and then to be able to use the QTR for B&W work is very 
exciting.

Also many of us are chomping at the bit to upgrade to the new R1800 
in April so we can use this technology for larger format work.

Will Roy be doing a QTR for this printer as well? It would be soooo 
nice if we won't have to wait a year. Perhaps the rip will be 
virtually the same as for the R800. Should we all chip in to get him 
an R1800 when it comes out?

I am praying....





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Message: 3 
Date: Sat, 12 Feb 2005 23:23:04 -0800
From: Peter Gorwin 

Subject: Re: Light Black/Dark Black/Matte Black


Hello: It's not advisable to print with the light and dark black inks 
only; the resulting image will not have the full resolution that 
printing with
all 7 inks affords. Peter

On Feb 12, 2005, at 3:48 PM, krn_ptr wrote:

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Message: 4 
Date: Sun, 13 Feb 2005 08:38:16 -0000
From: "aimforth" 
Subject: Re: QTR and 9600 match made in heaven - Roy, thank you sir!



Hi John/Brian

Thanks for this info. I have been using Piezography Quad Tone inks 
on an old 1290 for some time with good results, and have just 
invested in 4000 for larger prints. I can't really afford to go down 
the Piezo route with another 4000, so I'm interested in B/W options 
with the Ultrachrome inkset. I've played around with QTR and have a 
couple of questions

1) What Paper choice are you using - does it make any difference? 
I'll be using HahnPhotorag or Somerset Velvet

2) I guess I have to experiment with the ink and gamma sliders - 
(I'm using the 21step grayscale target from the Piezography forum to 
experiment) - but do you have any advice?

Cheers

Richard



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "bmg5" 
wrote:
> 
> Hey John,
> 
> I am using a 9600 and QTR for the last couple of days. Amazing 
> results. Question for you as we are using presumably similar 
setups. 
> Are you able to soft proof in PS? Do you find that the prints 
that 
> you make at 1440 are dark in relation to your screen (about 2 
> stops)? I profile with Monaco so I am pretty close on the 
monitor. 
> Just wondered if you had any words of wisdom with the QTR / 9600 
> combination
> 
> On your question below I love 80%CS/20 N for cool tones but there 
are 
> a world of possibilities;-) QTR is an awesome solution to a tough 
> problem!!!
> 
> In terms of ink I assume some Cyan is used as well to cool the 
tones 
> but I am just speculating. 
> 
> Best regards
> Brian
> 
> 
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" 
> wrote:
> > 
> > I just wanted to thank Roy Harrington once again publicly for 
all 
> he had done for this 
> > global digital monochrome community. He deservs the engineer of 
the 
> decade award for 
> > QTR, and the way he had made it available to us so unselfishly. 
I 
> thought is was cool with 
> > straight quad inksets but with Ultrachrome, I'm amazed.
> > 
> > I set up my new 9600 yesterday and today I did 15 variations of 
> monochrome toning of 
> > one portrait image on H. Photo Rag. These curves are so easy to 
> use and this interface so 
> > amazingly clear and user friendly I don't know what to say. It 
took 
> me six months to TRY 
> > to do with the Lyson Small Gamut tonable quad inkset what I did 
in 
> one hour with 
> > UltraChrome and QTR. And the Lyson tonable system never was 
> satisfactory in regard to 
> > metamerism or color purity.
> > 
> > Everyone of these variations I did this first day with QTR are 
> worthy of putting in a gallery. 
> > None of them are THE one, they all have their own qualities and 
> none by the way have any 
> > noticeable metamerism and with my drum scan I have very nice 
blacks 
> and subtle high 
> > values. And I've just started.
> > 
> > So far if I have a favourites from one days work the hue curve 
> selections that I like ( today)
> > are - W 50%/ C 50% for a warm neutral, CS 70% / C 30% for cool 
> neutral, and W/W 100% 
> > for a carbon sepia hue. But there plenty of other combinations 
that 
> I like as well, such as 
> > the 100% CSel curves he already worked out. I know this took a 
lot 
> of work from this team 
> > and I just feel so much hope with my vocation when I see someone 
> doing things right that 
> > can make me think more creatively without having to fight the 
> technology.
> > 
> > Does anyone have any personal choices for curve percentages/ 
paper 
> combinations with 
> > QTR and Ultrachrome? I'm curious what others are doing with this 
> set up. Finally, how 
> > much of this ink is coming out of the color channels? This I am 
not 
> clear about. I mean 
> > there is no metamerism and I find it hard to belive that I'm 
> getting this subtle of tonal 
> > rendition out of just 2 black channels?
> > 
> > Thanks again,
> > 
> > John








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Message: 5 
Date: Sun, 13 Feb 2005 21:05:15 -0000
From: "jtownell" 
Subject: Non-inkjet options



Three questions: 
-Can anyonee comment on well priced high quality Non-inkjet options. 
Like MPIX.com on B&W paper for digital.
-How does black Only on Epson 2200 and Epson 4000 compare to 
installing a Quadtone type set up.
-Most discussion in this forum is around MIS options, how does MIS 
compare to Lyson.

Thanks. I've yet to purchase a system but am getting closer.

Justin








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Message: 6 
Date: Sun, 13 Feb 2005 23:16:31 -0000
From: "Johnny Eades" 
Subject: Re: QTR: Great Tool ... no casts, But


Hello Fred, 


>

I take it your monitor is calibrated using some kind of device and 
software combination. This is a must to produce consistent and 
predictable results from any workflow. Go to 
www.zuberphotographics.com and download the Black Point/White Point 
information for the printer. Do the procedure to determine what Black 
Point is needed to allow you to print a full tonal ranged image, and 
then do the procedure for the White Point to do the same thing. You 
may be surprised what this simple procedure can do for your printing 
results. I found that I had been using the Zero point to indicate my 
black point and after doing the BP/WP I now use BP=19 and WP=252. Do 
this test on all the types of paper you use.


Roy has created a gray working space to enable softproofing from the 
working gray workspace. Download from Roy's website the two QTR-Gray 
Lab and QTR-Gray Lab Matte/Photo files. After you have image ready to 
convert to Grayscale, go to Image>Mode>Convert to profile and choose 
the Gray Lab; then immediately after converting it to Gray Lab; 
convert it AGAIN to Gray Lab Matte to have final access to your soft 
proofing procedure. Further adjustments can be done to the image 
before saving and printing. The results from the BP/WP testing can be 
put into a curve that can be applied to the Grayscale image (Gray Lab 
or Gray Lab Matte/Photo) and the resulting image will print with the 
minimum amout of ink to show total black on the paper used and the 
maximum amount of ink to show total white. I hope your results will 
please and surprise you. Mine surely did when I followed this system.

Your friend in Photography,

Johnny






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________________________________________________________________________

Message: 7 
Date: Mon, 14 Feb 2005 00:09:16 -0000
From: "robert_ardinger" 
Subject: QTR v."f" Windows XP 2200 printer and "page eject"


I am using the latest QTR version (f, for Win XP)and am very happy 
with the prints. What I have a question about is when I use QTR to 
drive my Epson 2200 I frequently (not always) will have the printer 
pass through the entire sheet of paper (loading paper one at a time, 
usually letter size). Of course then the paper light flashes since 
the printer is out of paper, I guess it expects a second sheet to be 
there. If I just put the paper back and press the paper light it 
will print fine. I do not understand why the printer wants to pass 
through a sheet before starting to print. (usual settings so far are 
1440 super, "better" speed, "ordered" dither, Centered image). 
Settings quirk? Anyone else notice this? Thanks. Robert





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________________________________________________________________________

Message: 8 
Date: Sun, 13 Feb 2005 17:34:18 -0800 (PST)
From: john kelly 
Subject: QTRgui, B-O, and profiles

The reason canned profiles aren't necessary for BO or
for QTRgui is this: Some photographers still know how
to visualize and translate from color (the world
around us) to Black and White. A basic Ansel Adams
kind of idea. 

Also, some of us are not interested in large prints,
where Black Only dots might be seen ...my own testing
indicates that there is no perceptable difference
between B.O. and QTR results on a given paper EXCEPT
that QTRgui gives wonderful control over print tone
tone (cold to sepia) whereas Black Only simply
produces the kind of effect a given paper wants to
produce, emphasizing warm tones because the Epson OEM
pigment is somewhat warm. 

B&W art and portrait photogs have worked simply, with
virtually no science, for generations, simply liking
their favorite paper...eg the look of Agfa Brovira or
Portriga Rapid (get either with QTRgui)or with the
look of of Kodak's portrait papers (either QTRgui OR 
Black-Only).

Many good photographers won't give two hoots either
way.

B.O. makes very nice B&W ... deep, true blacks on
every paper I've tried... some photographers will find
this their ultimate solution, and as usual some will
want more science and numbers than QTRgui can offer,
lusting for complexity... 

Me, I can go either way :-)





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________________________________________________________________________

Message: 9 
Date: Mon, 14 Feb 2005 02:24:00 -0000
From: "scott_now_coming" 
Subject: Re: QTRgui, B-O, and profiles


"some photographers will find
this their ultimate solution, and as usual some will
want more science and numbers than QTRgui can offer,
lusting for complexity... 

Me, I can go either way :-)"



John, I couldn't agree with you more. I fel the same way.

I hope the new Epson R1800 has a "BO" option.

If not, I go with QTR or IJC.

Scott







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________________________________________________________________________

Message: 10 
Date: Mon, 14 Feb 2005 02:33:49 -0000
From: "Stephen Kobrin" 
Subject: BO on R800


I would like to try BO on my R800 but cannot find an option in the 
driver to tell the printer to use only black ink. Will sending a 
gray-scale file accomplish the same purpose?

While I am on the topic, I find the paper feed in the R800 very 
touchy, to say the least. I am begining to wonder if there is a 
problem with my printer or if that is a general characteristic of 
this model. Any thoughts appreciated.

Steve





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________________________________________________________________________

Message: 11 
Date: Mon, 14 Feb 2005 02:54:49 -0000
From: "john dean" 
Subject: Re: QTR and 9600


From the few experiments I did last week most of them were done on H. Photo Rag, a 
good choice because of its good coating and dmax. I haven't tried Somerset because this 
paper doesn't have as deep a max black as some of the other rag media. For many images 
it wouldn't matter though.

If you have also been working with Piezzotone or similar carbon quad sets like UT you 
might notice that the deepest blacks are easier to achieve with those sets than 
Ultrachrome and max out deeper for the blackest of blacks. Usually with Piezzotone I have 
to back off the deepest blacks in photoshop or risk actually laying down too much ink with 

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