Digital BW, The Print

Thanks for asking, I would like to know also.


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "lulalake_1999" 
<lulalake_1999@y...> wrote:
> 
> 
> 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