Digital BW, The Print

I think I'm finally starting to understand all of the theory here.  Now just a question of 
choosing the right printer for my needs.

The Epson 2200 seems like it could be ideal because with the Epson inks and QTR I could 
get good quality B&W prints on matte paper and still retain the ability to print color-toned 
images at a level of quality far higher than my current set-up.  I could also use a single 
Eboni cartridge to do BO printing with the 2200 for higher quality B&W, and if I decide to 
give up the color-toned images I could get the MIS inks and along with the QTR, gloss 
optimizer in the yellow position (for glossy prints) and QTR curves that take advantage of 
gloss optimizer I'd have a printer that gets pretty close to the output of the 2400 on both 
matte and glossy (from what I've read).  The 2200 is available for $450 refurbed and I 
wouldn't need any special ink to get started.

The other option would be to get the r220 ($70), the MIS inkset (variable with both PK and 
K blacks, $80) and just give up on color-toned images for a while.  That would cost me 
$155.  I could put the extra $300 in a special "r2400" savings account :)

What would you do?

Thanks,
Chris

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" <paul.roark@...> 
wrote:
>
> Chris,
> 
> >... if I go with the r220 I will need to get used to ... 
> > a greyscale workflow and then toning the print using Paul's 
> > curves or variable ink and slider adjustments.
> 
> Yes, for now that is the way most of us do it.  
> 
> > ... greyscale workflow, ...?
> 
> I suspect most of us have our own versions of these.
> 
> One important step in such a workflow is simply to get the monitor to match
> the print.  We used to resort to custom dot gain curves or layers.  I think
> the best way to do this now is by using a workflow that incorporated Roy
> Harrington's "Create ICC" program.  I use this in the most recent approaches
> I recommend, and it can also be used with the 2400 ABW mode printer.  This
> basically inserts an ICC in the Print Preview section of the Photoshop
> printing workflow.  My UT-R2 pdf at
> http://home1.gte.net/res09aij/R220_R2_Readme.pdf outlines how this works
> with that inkset.
> 
> > ... I'm not at all sure at what point in the 
> > B&W conversion process (from my color RAW file) I should 
> > convert from RGB to greyscale. 
> 
> There seems to be a lot of discussion of conversion procedures.  I use the
> clone/rubber stamp tool a lot when I work up an image.  By avoiding any
> cropping, it's very easy to align the clone tool between versions of the
> same image and clone information from one to the other.  I do this with
> respect to the color as well.  I take the color image and do a split
> channels.  Then I pull the information from the different color channels
> simply based on which channel looks the best.
> 
> I'm in the experimental stage of converting the raw images.  One thing I've
> heard, however, is that the raw converters are getting better.  As such, one
> would be well advised to keep the raw images around because the newer
> programs may be able to do a better job in the future.  The approach of
> cloning from one image to another will facilitate make use of the projected
> raw conversion software improvements.
> 
> > ... with the K3 printers ... is it possible to get good prints 
> > using an RGB workflow and applying any toning in RGB color 
> > space ...
> 
> I'm sure many do this.  From a technical perspective, the 2400 uses more
> color pigments than the minimum necessary for the desired tone.  The RGB
> workflow is worse in this respect than the ABW mode.  The more color, the
> less the longevity and the more the color artifacts.  So, it's a trade off,
> and different people will opt of different solutions to the issue.  The nice
> thing about the 220 approach is that its cheap enough to just dive in and
> start learning by doing.
> 
> Enjoy,
> 
> Paul
> www.PaulRoark.com
>