Digital BW, The Print

Walt,

I just joined this forum this weekend, and am delighted to find this 
kind of post here.

I have been thinking about a 2400 as my first serious digital printer 
and wondered about the BW. I can tell from your trenchant comments on 
aesthetics that I will love the printer.

Much appreciated,

Eric

At 01:02 AM 7/31/2005, you wrote:

>Clayton-
>
>I can give you some feedback, of sorts, on the matte capabilities of
>the 2400.  While I am aware that you may dismiss it for the lack of
>hard figures, I am a very experienced traditional BW printer, having
>worked in BW lab work since 1965.  I believe that I have a good eye
>for a BW image and what makes a print work.
>
>The 2400 that I have been using for the past month or so is producing
>astonishing results over a wide range of prints of negatives with
>which I am familiar.  I am using EEM for proof and Epson VFA for
>final prints, both with the Epson inks (MK).  Although they do not
>look like gelatin DW glossy-matte dried prints, they are comparable
>in every way, and almost certainly better than what could ever have
>been produced with a wet process on matte papers.  One can nitpick
>*any* print to death, but all said and done, this is a remarkable
>process "out of the box."
>
>I realize that this is not a forum about photography, but "the
>print," but ultimately the only real problem in photography is the
>photograph.  The print merely serves the photograph and if the
>photograph is of no interest the quality of the print is entirely
>moot.  So, what I am suggesting is some perspective on these issues
>and a reluctance to dismiss as neophytes and amateurs all those who
>don't see what you see. To this long-trained eye, the Epson 2400 is a
>remarkable achievement and will be a significant contribution to the
>work of many serious, perceptive photographers.
>
>To put my comments on the print issue in some perspective, I have
>always found Ansel Adams a photographic bore who wrote a couple of
>useful, if not entirely original, technical books.  Give me a Lee
>Friedlander, Robert Frank or Cartier-Bresson print any day of the
>week.  So, I suppose that puts our objectives in somewhat different
>camps.
>
>With good wishes and thanks for your contributions,
>
>Walt
>
>
>
>
>
>
>
>
>
>
>--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Clayton Jones"
><cj@c...> wrote:
> > Hello Tony,
> >
> > >That was one of the more interesting posts I've read in awhile,
> > >on a topic of particular interest to me at the moment.  In my
> > >studio, I have a Epson 4000 as my main printer for B&W.  I'm
> > >using the standard Epson UC inkset with Eboni Black instead of
> > >the Epson MK and using QTR or BO.  I was thinking of adding the
> > >2400 as sort of "test bed" to see if I wanted to upgrade the 4000
> > >to the 4800.  Think I'll wait for some more reviews of the K3
> > >inkset.
> >
> > At $850 that's an expensive test bed - maybe I saved you a lot of
> > money <g>.  It's always tough knowing what to do when a brand new
> > system comes out.  It seems worse in this case because all the
> > reviewers, and even the early users, are going on about how great
>the
> > glossy prints are, and many don't even mention MK/matte prints.  I
> > have yet to see a really thorough review or user report on
>MK/matte.
> >
> >
> >
> > >My only problem with BO is that I frequently get
> > >microbanding that I haven't figured out how to get rid of.
> >
> > It seems to vary from one printer to another.  I have a Carl
>Schofield
> > 4000 BO print that's one of the finest I've ever seen and has no
> > dither banding.  From that I thought that all 4000s would be that
>way,
> > but learned later it wasn't so.  I cured it on my 2200 with a head
> > alignment at a supposedly less than optimal setting, but it worked.
> > The tiny amount that is there requires a loupe to see it.
> >
> > Regards,
> > Clayton
> >
> >
> > Info on black and white digital printing at
> > <http://www.cjcom.net/digiprnarts.htm>http://www.cjcom.net/digiprnarts.htm
>
>
>
>
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