Digital BW, The Print

Since there are several others experimenting with similar approaches, I
thought it appropriate to share some initial results I'm having with the
R800-1800. Although the first R800 refurb I purchased was defective, I saw
encouraging enough results to buy an R1800 (which just showed up while
writing this).

The bottom line for me is that "pure, 100% carbon" (plus base, etc., of
course), "neutral" (essentially paper white to relatively neutral black)
printing at what I consider photo quality may finally be possible.  I'm
using multiple MIS Eboni jets and the Epson driver.  

For the approximate spectral Lab A & B distributions of Eboni, see:

http://www.paulroark.com/BW-Info/Eboni-PA-325-BO.jpg for Premier Art Smooth
(Hot Press) 325 (no OBAs), and 

http://www.paulroark.com/BW-Info/Eboni-PA-MBW-BO.jpg for the very affordable
and bright Premier Art Matte BW.

For a comparison of the 5% patch of an Epson k3 Advanced B&W mode print to a
similar density patch printed with 5 Eboni jets firing in an R800, see:

http://www.paulroark.com/BW-Info/800-5-Eboni-v-2400-ABW-1600dpi.jpg

(The defective R800 may not have been firing all 5 jets.)


Whereas "Black Only" printing with the 3.5 picoliter printers was sometimes
referred to as "Digital Tri-X," the R800/1800 might be referred to as
digital Tmax 100.  The link below is to a rather crude "apples v. oranges"
comparison of (1) a light midtone test patch of a Tmax 100 negative scanned
at 4000 dpi with my Nikon 8000 to (2) an R800 print, similar density test
patch scanned on an Epson 1600 flatbed at 1600.  The Epson scan was then
downsized so that it would at least mathematically be at the same
magnification as the medium format Tmax 100 scan if such had been enlarged
to an 8 x 10 print.  The image you'll be looking at would be 1.2 x 1.7 mm on
an 8x10.  (The Tmax patch arguably needs to be sharpened to bit.)

http://www.paulroark.com/BW-Info/Tmax-R800-8x10.jpg

Note that I am not doing "Black Only" printing in the sense that it's been
used previously.  I have multiple Eboni carts in the midtone spots.  This is
definitely a dedicated B&W approach, not something someone would do to also
be able to print color with the printer.  Most single-jet BO prints have
simply been too rough for my tastes.  I'm aiming to match the quality of my
medium format Tmax 100 prints.  

The workflow tentatively would be to simply print a grayscale file with the
Epson drive, using an ICC in the print preview.  

To make the ICC, a 21-step test file is first used to determine the best
dmax.  Then a curve from (0, 0) to (100, [best dmax point]) is made.  I'll
probably have a 50% point pulled down to get approximately the right density
distribution.  A second test strip is printed with this Photoshop curve.  It
has its Lab L values read for purposes of linearization.  Then the curve and
the text file with the L or density values are dropped into Create ICC-RGB
to make the ICC.  

The bottom line is that the Epson driver would be used, and the system would
be able to be linearized even with a flatbed scanner.

The idea is to achieve pure carbon printing, with no color inks to cause
green shifts, etc.  There are no cross-overs or partitioning to worry about.
The monitor and print will be matched via Create ICC.

There are obviously many modifications one could do to this approach.  LK
could be used to warm up prints or smooth the highlights on brightened
paper.  I have not explored whether there is a neutral PK that might also be
incorporated.  Eboni's neutrality is obviously key to this approach being
acceptable to me.  Dilute carbon inks are too warm for me.

My hopes are that this will make the most lightfast digital prints possible
in a manner that is so simple old darkroom types will be able to relate to
it without ever having to learn anything about how partition curves, control
the tones of prints, or much else. 

This is not going to be for everyone.  The prints do show a very fine grain.
But then those of us who've worked with film don't mind that, in fact, it
can lend a sense of sharpness to an image.  But, as noted above, Tmax 100 in
medium format was my standard for years.  I aim to match that quality level,
at least.

As a side benefit, consider what this does to your ink costs.  You don't
need much Eboni to make prints.  It's the diluted inks that drive up the
costs.  Light inks are expensive water.  Then there is the simplicity of
filling multiple carts with the same bottle of Eboni and single syringe.
("UC base" [no binder] may be in the other spots to help keep the sponges
and heads clean.) 

This is still in a development stage.  So, my results are tentative, and I
definitely reserve the right to change my opinion and dump this approach.
However, right now, I'm very excited by the prospects of a simple, neutral,
pure carbon, photo quality printing approach.  I think it will be something
old darkroom printers can live with very nicely.  (I wish there were a 24
inch printer with 1.5 pl dots.)

Paul
www.PaulRoark.com