Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark"
<paul.roark@...> wrote:
>
> I've loaded my 2200 with what I call the 4K+, non-blended B&W setup
that I'm
> using in my 7500.  (See http://home1.gte.net/res09aij/4K+.pdf)   With 7
> positions available, I have the 4 Ks (MK, PK, LK and LLK) plus full - if
> light - color: LC, LM, and Y.  It appears to work very well.  The
approach
> requires at least a B&W rip (QTR or IJC).

I've been using a similar system in one of my 2200s for over a year,
and it does work very well. I use Epson inks from the 4000/4800 (MK)
4800 (PK, LK, LLK, LC) and R800 (blue, diluted to 20% of its original
strength) with Krystal Topkote in the last position. I use IJC/OPM. 

I don't require anything warmer than the K3 inks themselves give,
hence the use of the LC and LB as the only toners. The blue was chosen
after experimenting with LM and R800 red. The R800 red worked well as
a warming toner, but as I said, I don't require the warm tones so I
removed it in favour of the Topkote.

I also use the Topkote for overcoating colour prints made on my colour
2200. I found that it worked best as as after coat rather than as a
simultaneous coat with the K3 set - ie it improved DMax and shadow
detail separation more as a second coat than if it was applied
simultaneously. I apply the Topkote with the Epson driver in high
speed using the Watercolor paper setting. The Topkote works better
than the Epson glop in my R800 for overcoating UC and K3 inks.

I switched to the dilute blue after a few months of use - the
full-strength blue sometimes gave a barely perceptible dottiness when
used with light tones.

Overall I'm very pleased with the quality of the system.

As an aside, I'm now using a third 2200 with IJC/OPM to make negatives
for silver gelatin printing using Canon red dye ink in various
dilutions - the project I shelved to develop and refine the K3 B&W
system described above.

Best,
Helen