Digital BW, The Print

Hi Richard,

Do you folks have carts for the 2200 yet with the blacks, matte/photo 
and the glop?

Thanks

Jules



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Richard 
Wolfson" <rw@r...> wrote:
> SteveZ started a thread about digital b&w prints compared with
> traditional wet darkroom silver prints, writing in part:
> > 
> > What are your opinions about using glossy media
> > for fine art prints?
> > 
> > Do any of you use this media and if so for what
> > applications?
> > 
> > What about the "bronzing" issue? How do I overcome
> > this problem?
> > 
> > Please speak your minds.
> 
> A number of b&w list members have posted responses. Some favor matte
> prints only, some offer other perspectives. I do not take sides, as 
I
> think both approaches have merit.
> 
> Media Street's new QuadBlack ink set supports both matte and resin
> coated (glossy or luster) papers with QuadTone RIP software. I 
designed
> the ink set and I am currently developing printing curves for a 
range of
> papers and printers. The ink set includes dark and light cold grays 
and
> dark and light warm grays, so a printmaker can make cold, sepia,
> neutral, or split-tone (platinum) prints simply by selecting 
appropriate
> printing curves. 
> 
> With Matte Black ink in the black position, one can make rich b&w 
prints
> of excellent quality on photo-matte or fine art papers. These papers
> have a luxurious feel and texture, and many artists prefer them. 
Dmax is
> around 1.7.
> 
> With Photo Black (Neutral) ink in the black position, one can make
> exhibition-quality b&w prints on resin-coated luster (or even 
glossy)
> ink jet papers. In this mode, one printer channel is used to put 
down a
> surface optimizer resin in the white and light areas of the print to
> balance the ink lay-down in the dark areas. This produces a print 
that
> is free of bronzing.
> 
> These QuadBlack prints on luster paper closely approximate the look 
of
> classic air-dried fiber based silver prints. They have a longer 
tonal
> scale than matte prints due to the deeper black; Dmax is around 2.3.
> However these papers feel like flimsy plastic, and in larger sizes 
they
> need to be dry mounted to stay flat.
> 
> So both options offer benefits, and the best choice will come down 
to a
> question of taste and specific requirements. A six channel printer 
like
> the R200 will accommodate one black, all four grays, and the surface
> optimizer; changing between matte and photo black requires changing 
one
> ink cartridge. A seven channel printer like the 2200 will 
accommodate
> all seven cartridges, including both blacks, so changing from matte 
to
> photo black can be accomplished under software control.
> 
> Media Street has already posted preliminary product information on 
their
> web site, and I believe they expect to begin filling initial orders
> shortly. Initially, QTR curves will be available for the R200 ($99,
> letter size, 3 pl drops). Curves for other printers will follow.
> 
> Richard Wolfson
> Fine Art Photographer, Printmaker, 
> & Digital Imaging Consultant