Digital BW, The Print

Paul Roark wrote:

>
>First, having to change the black ink to switch between glossy and matte
>paper is still too much of a hassle.  With the 2400, however, changing a
>black cart is fine.  
>  
>

As reported it is now just the loss of one inkline content per change 
(something I can do with the10000 with a hack too) so they are more 
economic than the x600 models. Given the pro aspect of those printers 
that's an acceptable amount. Having the two blacks in the 4000 ready all 
time is convenient but probably isn't better on ink waste, with every 
start of the printer and after idle time the printer wastes on both 
black lines even when you wouldn't use PK at all for printing.

>Second, with at least the MIS clone inks, the R800 Blue is so much stronger
>than the magenta, that I would not be willing to go back to the magenta in
>the toner.  I'll have to fade test an Epson 2400 neutral B&W test strip
>against an MIS one to see if Epson has been able to bring their magenta up
>to that level.  If they have, then at the 13" printer size, price will be
>the only limiting factor.
>
A dedicated single hue makes a difference in fade properties without 
doubt, less mixing, less shifts. We have to wait for the Wilhelm numbers 
to see how much the new Epson pigments + driver improved upon the first 
UCs in fade properties. So far B&W prints made with the UCs and the 
Epson driver still had a significant amount of composite grey and that 
affects the fade figures. Joseph's estimation of much better B&W fade 
properties for the K3 + B&W mode in the driver is based on sensible 
arguments. The K3 B&W printing comes closer to the way we are making B&W 
prints with QTR etc and UC or Ultratones and with your curves and 
Ultratones.

There's an interesting change in the ink lay down order too. Wonder 
whether that is done for the B&W mode or related to the other weaving 
pattern mentioned.

Ernst