Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" 

So ......if i read this correctly

the UT-R2 C & M are the same density
and the Lc, Lm, and Y  are the same density as well
http://tech.groups.yahoo.com/group/DigitalBlackandWhiteThePrint/messag
e/78527

 on Muse Silver Rag, you feel that ............
1. UT-3D would give the most "relatively" neutral prints (i assume 
relative to the paper)???
2. UT-R2 with EZ/W in the "Y" position would be next ??? (as the R2N 
may print a little cool)

i have no issue with profiling my own inks so i'm up to challenge.

thanks for all the help



> 
> I prefer the R2 in modern printers and with the current papers I 
use.

> 
> The dark grays are essentially the same density.  After that, 
however, they
> diverge.  The FS line follows the PiezoBW densities.  There is a 
very large
> gap between the dark gray ("C") and medium gray ("M").  The M and Y 
(very
> light gray) are quite close in density.  This FS approach worked 
well in the
> older printers (e.g., 3000), but, in my view, it pours on too much 
light ink
> and is not necessary for printers from the 1280 and better.  (In my 
7500 I
> still have to use the FS-Y very light density, but I have 
substituted the R2
> neutrals for the other FS neutrals that were used.)
> 
> The R2 uses a gap between the dark gray and light gray (which is 
closer to
> the FS medium density) that is consistent with what the Epson 
driver was
> designed for.  It does not use the super-light FS-Y density.  The R2
> arrangement is such that the printers produce very nice prints with 
the
> Epson driver set to Color Controls = 0 and no curves.   
> 
> The R2 neutral tones, especially the dark gray (C), are more to the 
red side
> compared to the UT-FSN inks.  The UT-FS-N was mixed when some of 
the more
> popular glossy papers printed very magenta shadows.  The more 
modern glossy
> papers, in comparison, print with more of a greenish tint -- and I 
dislike
> green in my B&W prints.
> 
> As with the EZ inks, my preference is for R2 "neutral" (which is 
somewhat
> cool on many papers) in the C & M channels, and warm in the Y 
position.
> Frankly, I prefer EZ-Warm in that Y position over the R2W-Y.  The 
R2 light
> inks are all the same density just for simplicity.  However, this 
makes the
> warm Y a bit weaker than I like for the purposes of profiling 
papers.  With
> a warm EZ Y in an otherwise "neutral" set, I'm able to get quite 
good tonal
> distributions on most of that papers I use.
> 
> The R2 PKN is specific to the R200/220.  The newer Epson printers 
are
> tending to need different PKs to optimize their dmaxs.  The trend 
is to
> lower load Pk inks.

> 
> One of the variables is whether you're into profiling your own 
inksets.  If
> you're comfortable with manual profiling, then the UT-3D can give 
the best
> control.  If you'd rather have an easier way to get to quite 
neutral, then
> the R2 neutral, possibly with warm ink in the yellow spot, would be 
what I'd
> recommend.  The 3D LK is a neutralized (slightly warm) LK that 
would be most
> compatible with an R2 approach.  I have not tried the R2 inks in 
the 2200,
> but they should work very well.  I'd try both the neutral and warm 
Yellows
> to see which works better.
> 
> Of course, the UT7 inkset is also an option.  For this, I'd pull 
the sepia
> out and put in another carbon ink.  I'd then re-do the curves a bit 
to use
> that new light carbon.  The point here is that if one does not use 
the
> sepia, then it's best removed so that the printer uses all its inks 
for both
> smoothness and keeping the yellow jet in good condition.  If I 
wanted more
> control over warm prints, I'd use LC (standard light carbon = 50% 
LK) + 4%
> red in the Y position.  This makes a very nice warm ink (hue = 45).
> 
> 
> I think the 3D-Y would throw the R2 hue too far to the red/magenta 
end.  If
> you have a lot of FSN left, this might be a way to take care of any
> un-wanted greenish shadows, however.
> 
> Hope this helps.
> 
> Paul
> www.PaulRoark.com
>