Digital BW, The Print

Hi Mitch,

>I know this is a subjective question, but how do the prints look?

I dumped my 2400.  I'll still use the 7500 with K4+ inks when I need to for
the large prints.  The 220 has Ut-3D for my daily printing, letters, and
glossy brochures.  The 2200 is a standby 13" and test bed for k2 printers.

In other words, all my 13" fine art prints will be done with the R1800
carbon printing system.  It's in a league of its own for me when all the
factors are considered.  My hardest to print image, Grand Teton, is the
closest to showing artifacts in the sky, but even it on Premier Art 205 is
OK. 

Looks wise it covers the range from cold PA Matte BW to warm MIS Alpha (an
Innova no-OBA coating).  Premier Art 205 or 270 will probably be my standard
for most printing.  PA 205 has been my standard for 11 x 14 and below for
some time for a variety of reasons.  Now another reason is that the R1800
prints more smoothly on that paper than on some of the thicker ones.  On a
few images that difference is visible.

>My own point of reference it the humble C86.

That is a very fine printer with the EZ inks, particularly on glossy paper
like Kirkland.  The EZ-N inks are on the cool side of neutral, but they look
good on glossy paper.  The R1800 carbon prints on PA 205 are medium warm,
like the "gallery white" mat board I use.  So, the image tone of what I do
for fine art sales and museum restorations are warmer than EZ-N, but they
look neutral when not next to a brightened paper and cold inkset.

No previous black only approach is in the league with the 3-channel 1.5 pl
R1800 carbon.  On the other hand, some might want the smoother dedicated B&W
or K3 ABW prints.  For my purposes the extra smoothness is too small to
matter. 

Paul
www.PaulRoark.com