Digital BW, The Print

Karissa,

>... been using an Epson 2200, almost entirely for color work. 
>I just purchased an R2400 ...

>... what would be the best route (or routes) for B&W work. 
> Would I be better off (both from the standpoint of print 
> quality and workflow simplification) converting the 2200 to a 
>dedicated B&W device (and, if so, using what inks ...
> or should I use the R2400 for both color and monochrome work ...?

>... my monochrome work in silver is almost exclusively 
> cool-neutral tones on matte-dried glossy FB paper, 
> and that would be the desired "feel" from digital output ...

The 2200 can make an excellent dedicated B&W printer, using the Epson
driver, with several inksets that I'm familiar with.  The standard UT7 would
be one approach.  See http://home1.gte.net/res09aij/UT-2200-Readme.htm  It
contains a sepia ink that it sounds like you would not be using.  So, there
may be a better approach.

The UT-3D is what I currently have in my 2200.  See
http://home1.gte.net/res09aij/UT-3D_Readme.pdf   If I were in your position,
I would probably put UT-3D in the 2200.  It's still early in the 3D
development because MIS (with me pushing) is trying to take ink consistency
to a higher level than has been possible if third party sellers rely on
their suppliers to ship highly consistent inks.  The goal with the 3D inkset
is to get superior control within the range of cool to carbon warm printing,
including limited Lab a* axis control.

The ability to print on both matte and glossy paper without changing inks is
very useful.  From my perspective, the new Crane Silver Rag is a paper that
I'd want to put at the top of the list.  It is the closest thing to the old
air dried silver prints that I've used.  (The Innova version is also very
nice, but I have a preference for the non-brightened papers.)  On the other
hand, I don't want to be excluded from using matte papers, which have been
the standard for digital fine art.  So, the UT-3D (and UT7) ability to print
on both without changing any inks is a major plus.

While I have an (arguably emotional) dislike for color dots in my B&W
prints, the latest experiment I did with the 2400 is rather interesting.  I
put MIS carbon inks in the LK, LLK and Y positions (OEM inks in the
remainder of spots).  This allowed control of the 2400 with the ABW mode
controls and resulted in prints with the minimum amount of color inks in
them.  

All neutral inkjet B&W prints must have some color pigments to offset
carbon's natural yellowish tint, but since they are weaklings compared to
carbon, one important goal in my efforts is to minimize the color pigments.
Having no yellow in the mix is particularly important.  Not only is it a
relative weakling (compared to, for example cyan as well as carbon), but it
also requires more offsetting cyan and magenta to be added, all of which not
only makes the prints fade faster, but also causes problems like metamerism.


So, the bottom line of this 2400 Y = Carbon experiment is that it resulted
in the least amount of color and an outstanding print that was very easy to
control with the driver in ABW mode (and with average Lab A & B variances
from the target tone).  It even allowed limited color printing.  Still, one
would have to switch black inks to go from matte to glossy, and switch
Y-position inks to go from full color to minimum-color-ink B&W. 

(Additionally, there is some evidence that even with the minimum color inks
in a print from a 2200 or 2400 with color inks installed, the blended B&W
inks are slightly more lightfast.  This small advantage might be offset if
the non-blended approach allowed a more lightfast color [Epson Magenta?] or
avoided ink separation in a large format printer [my top concern, for which
I have another remedy also being tested now].  These are issues that will
not affect your immediate decision, however.)

With both a 2200 and 2400, you have 2 potentially excellent B&W printers to
choose from.  Good luck.

Paul
www.PaulRoark.com