Digital BW, The Print

>... Like you I have been considering [QTR's] use but will 
> most likely wait until I have had the chance for an 
> more in depth understanding.

I'm there also.  Note that Roy is going to the Golden Trout Photo Workshop
this year.   (For Golden Trout workshop information, see
http://home1.gte.net/res0a2zt/GTthumbnails.html )

Note also that I'm trying to bring the dedicated B&W market to an "open
source" approach that, in effect, puts the Epson k3 approach onto most other
printers.  That way, what we learn on a 220, for example, will apply to the
2400 and most other Epson printers.  (The inks will also be
interchangeable.) I'll have a 220 at this Summer's Golden Trout workshop.
It's the "mule" printer, in more ways that one.  (For the open source ink
approach, see http://home1.gte.net/res09aij/4K+.pdf )  


>...  ABW yeilds very nice results especially since I have started 
> using the MIS LK, LLK and EZW inks suggessted by Paul Roark. 

That does give you the least amount of color and preserve the ABW mode
printing.  With the 2400, it's rather easy to just swap the yellow and EZ-W
carts as needed.  However, I'm guessing more people will want to use the
3800 with the yellow installed, because swapping large format carts is not
easy.  As such, going forward, I'm interested in being sure we have top
notch B&W workflows that utilize these machines with their intended ink
layouts.

So, I'm moving to a more unified approach that will make the skills that are
gained,  as well as the inks themselves that are used on a 220 approach
applicable to the 2400, 3800, as well as the 220, 1280 and virtually all
Epson hextone printers.  These are all much more alike than most realize,
and we can run the same inks in the entire group with a relatively unified
approach.  

There will, hopefully, be no reason to re-invent the wheel for each system.

I hope this allows us to go forward at the least cost not only in materials
but also in the time and energy needed to master our art.

Paul
www.PaulRoark.com