Digital BW, The Print

Hi John,

>I don't have that grainy issue with my 2200 @ 1440 but 
>I do find 2880 frequently over-inking ...
>does that suggest something about my settings/curves?

With the Epson driver, I always found 1440 with high speed off was good
enough.  With QTR, however, I generally use 2880 to get a better black and
often better smoothness.  With QTR, I believe it usually takes a different
profile for 2880 v. 1440.

>...I don't find LLK carts (UT 3D) for 2200 on the MIS site...

The 2200 does not use LLK in the UT7 or UT-3D setups.  I use standard LLK in
the non-blended 4K setup I was using for a while, but that one also had the
LK in it, as well as Pk and Mk.  It's a totally different inkset than the
3D.  

Note that with dedicated B&W inksets when I'm using the Epson driver I find
the LK and LLK spots a detriment to the inkset.  Of course, with a rip they
simply give you some extra spots to put whatever you might want.  However,
with a dedicated B&W inkset the LK and LLK cross-overs just get in the way
of controlling the inkset.  The 3D inkset works best of hextone printers,
fairly well on k2 printers, and less well on k3 printers.  The more
cross-overs the Epson driver has, the more I'm inclined to use QTR or
IJC/OPM.

>...if LLK was used in the LK position in an otherwise all UT-7 
> inkset, what would I likely have to do to adjust?

It depends on the driver.  With the Epson driver, you'd probably have a very
difficult time dealing with black substitution cross-overs. The Epson driver
is assuming an LK, not an LLK.  With a rip you could work around this issue.
Frankly, I'm not sure I'd use either the UT7 or 3D LKs if I were using a
rip.  These inks were just passive place holders in these inksets.  Being
out of control, the UT7 and UT-3D LKs (and LLK on the 3D) were mostly
designed to do the least damage.  They are slightly neutralized in an
attempt to keep the shadow tones relatively as they are substituted in by
the driver.
 
>...are the OTHER inks in UT3D the same as UT-7 inks?

The UT7 and UT-3D midtone carbons -- C and LC -- as well as the Eboni and PK
are the same.  The other ink positions are different, including the LKs.

Hope this helps.

Paul
www.PaulRoark.com 



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark"
<paul.roark@...> wrote:
>
> >... I am finding smoothness is indeed an issue with the 
> >QTR/Epson UC combo. If I use 1440, images look a little 
> >on the grainy side ...
> 
> >When I use 2880 things get darker and grittier and 
> >shadows over-ink to the point of the rollers picking 
> >up ink before it can dry...
> 
> There are reasons I put the LLK in my 2200 setup. It will take care
of the
> smoothness issues and probably help the banding issue. Other
problems you
> mention could be profile problems.
> 
> > I am using the PK cartridge and Ilford Smooth Pearl ...
> > I like the feel and look of this paper but maybe I 
> > need to go back to matt for BW. 
> 
> The 4K inkset I describe at http://www.paulroark.com/BW-Info/4K+.pdf can
> print both matte and glossy without ink changes, as can the UT-3D,
described
> at http://www.paulroark.com/BW-Info/UT-3D_Readme.pdf. Some profiles are
> posted for the 3D inkset. That one can also be profiled, at least for
> neutral matte prints, with the ColorVision PFP software.
> 
> >Judging by your comments I should be able to get acceptable 
> >results from the QTR/EPson UC combo so I would like to persist 
> >until I am getting the best out of this combo.
> 
> I'd stick with 2880 and make your own profiles with QTR. Try running a
> calibration print (with slider at 100) and setting the default ink
limit at
> the point that gives the best damx. Leave the ink limit box for the LK
> blank. Fill in the density box in the usual manner. Do this for
both the
> PK and MK -- in different profiles. If you see blotchiness in the
midtones,
> then the LK limit will need to be lowered. Whether you'll be able
to avoid
> the banding with the 2200 may depend on the individual printer and
how well
> made it is. You might be able to reduce banding by having more ink
overlap,
> but do this via manually pulling the black curves out further, with
no LK
> going into the 100% black end. You can convert the curves into a
list of
> points by just noting the coordinates at the curve generated when
you push
> the Create Curve button on the Curve Creator. Look for bulges in a
curve
> due to the smoothing algorithm. You may need to pin down the K
curve with a
> series of points at 0. For the best glossy dmax, try putting some full
> strength cyan in at 100% and the deep shadows.
> 
> Good luck.
> 
> Paul
> www.PaulRoark.com
>