Digital BW, The Print

"c1asia" <c1asia@...> wrote:
>
> I'm interested in converting a used Epson 4800 printer 
> to a dedicated B&W printer (using no K3 inks).  

> My goal is to produce prints that 
> match (as close as possible) to the WARM NEUTRAL tones 
> you see in Lenswork magazine.  Lenswork uses a Black 
> color and a Warm Gray color for their duotones.

I'm a LensWork fan myself.  So, I measured the tones of those 
images.  To be objective about color, I suggest you compare Lab 
readings.  See page 3 of http://www.paulroark.com/BW-Info/R1800-OBA-
Papers.pdf for a graph of the Lab A & B tones for the LensWork 
images.  

These graphs are made by reading a 21-step test strip from the 0% 
paper white on the left to the dmax -- 100% black -- on the right.  
For more information on how to interprete the graphs, see 
http://www.paulroark.com/BW-Info/R1800-Paper.pdf  

As you can see from the LensWork graph at page 3 of 
http://www.paulroark.com/BW-Info/R1800-OBA-Papers.pdf LensWork uses a 
cold paper with warm shadows.  As you can see from the other graphs 
in that PDF, if you were using the R1800 3-MK workflow you could get 
close easily on at least a few matte papers.

With the 4800, that inkset will not work -- dots are too big.

But, now you have an objective target for what you like.

At page 6 of http://www.paulroark.com/BW-Info/Eboni-6.pdf I have a 
number of graphs for different papers using the latest inkset I'm 
using in the non-1.5 picoliter printers.  The graphs there will tell 
you what paper will have a paper white similar to the LensWork 
paper.  Premier Art Smooth BW is very close -- at the paper white.  
It is not close in terms of its split tone or shadow Lab B when the 
Eboni-6 inkset is used.  But at least those graphs get you some idea 
of what will hit the paper white end.  

Note at page 7 of http://www.paulroark.com/BW-Info/Eboni-6.pdf the 
Photo Rag graph.  That has a split tone, but the warmth is much more 
in the light midtones, and then the shadows good cooler.  So, it does 
not really have the same look.

 
> 1.  inks to use?  (MIS UT-3D vs. Piezography K7 Split Tone)

I would not use the 3D in a large format unless you use the printer 
almost daily and you dislike the idea of color inks being separate 
from the carbon inks.  I stopped using my MIS blended inksets in 
large format and went to a system of carbon inks and separate LC and 
LM.  See http://www.paulroark.com/BW-Info/4K+.pdf and particularly 
page 4 that shows the tonal instability I ran into.

I have not used the K7 inkset.  

You could achieve the tones you want with the separate carbon + LC & 
LM approach.  MIS UT carbon is about the warmth you want in the 
shadows.

> 
> 2.  RIPs to use?  (Bowhaus IJC/OPM vs. Quadtone RIP vs. Ergosoft 
> StudioPrint vs. Colorbyte Imageprint)

QTR is probably the most widely used rip on this forum.  It's what I 
use and recommend. It gives me more control than IJC.  I have not 
used the more expensive rips.

I think the QTR ability to use sliders to go between warm and cool or 
neutral profiles may help you hit your tone target.  

The MIS UT carbon inks are about what you want for the shadows, and 
they are glossy or matte paper compatible.  

For the more neutral light midtones I have no recommendation for a 
blended matte and glossy compatible inkset.  The MIS UT-R2-Neutrals 
or UT-RC neutrals or cools might do, but you'll probably have the ink 
separation problem if you don't use the printer often.  If you do use 
the printer regularly, then these are possible choices.  

If you use only matte papers, then Piezo selenium comes to mind.


> 3.  spectrophotometer to use?  (EyeOne - not sure which model vs. 
> Printfix Pro v2.0)

I use the PFP.  It's very affordalbe and fine for 21-step B&W, but 
the lack of a strip reader on the model I have makes it inadequate 
for color (which is OK with me). 

 
> 4.  matte/glossy papers to use? 

This is a huge question.  Look at the graphs in the URLs noted 
above.  If you want to match LensWork, you'll need to know the paper 
white.  You need to decide matte v. gloss.  Once you've made those 
cuts, you've really narrowed the field.  A "profilable" inkset with 
multiple Ks, LC and LM can then match your target, but it'll take 
some skill in using a rip.

You've asked a very large question.  Hitting that target dead on is 
going to take some skill and work.  Frankly, I think you could to it 
with a 4800, the OEM ink placement, and QTR.  But, those of us who 
prefer dedicated B&W would certainly rather pull the excess color and 
put on more carbon.  

I'd use multiple MIS UT carbons, LC and LM (all un-blended, stable 
inks), and QTR.  I'd have both Eboni MK and MIS 4K-PK in the printer 
so that I could use both matte and glossy papers without switching 
inks.  I'd also have a channel of MIS Glop (gloss optimizer) in the 
printer.

Good luck with the project.

Paul   
www.PaulRoark.com