Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "hp9180profile" 
<owens@...> wrote:
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Bob 
Marsolais" 
> <bob@> wrote:
> >
> > While experimenting with various mixtures for a new UT-R18, I've 
had
> > my 1280 (which I wrote off due to a clogged head) sitting with
> > cleaning carts installed.  I've run a couple of pages of purge
> > patterns every night for about two weeks and the heads are now
> > unclogged and giving a perfect nozzle test pattern again.  It's 
made
> > me think back as to which printer required less maintenance: the 
> 1800
> > or 1280 with pigment inks.  My memory says there was not much
> > difference maintenance-wise, and the 1280 did a real nice job with
> > it's 3.5(?) picoliter drops.  It a whole lot slower than the 
1800, 
> but
> > it has a paper thickness adjustment which the 1800 does not.
> > 
> > I'm assuming the 1280 would require LK inks for smooth midtones
> > because of the dot size, and, if I remember, Eboni diluted tends 
to 
> go
> > rather warm.  Is this correct?  If so, then the 1280 would use a 
> wide
> > format ink set as compared to a 1.5 picoliter inkset.
> > 
> > Am I crazy to consider using the 1280 as my B&W printer and 
leaving
> > the 1800 for color?  You have my permission to say so it I am!
> > 
> > Bob
> >
> 
> After being somewhat critical about the 1800 on this site, I am 
> coming round to seeing it as a useful BW only printer. I have one 
> loaded with 3mk, 3pk and 3 GO. Very flexible setup for neutral to 
> warm BW prints on mk and pk paper. Enables printing of the 
following 
> using only carbon and GLOP and no color at all:
> 
> 1. The 3mk gives neutral to warmish (paper dependent) carbon only 
on 
> matt paper
> 2. By firing one pk into the darkest tones and some GLOP over the 
mk 
> together with a 2nd pass of GLOP and you get neutral to warmish 
> (paper dependent) carbon prints on photo paper.
> 3. By firing pk into the mid and lighter tones you get more control 
> over the warm variations on photo papers.
> 
> This may or may not give you the sepia tones you are after but 
since 
> it avoids using any yellows (or any color for that matter), it may 
be 
> worth some time and paper to see if a paper/curve combination will 
> give you the tones you want.
> 
> I am using the 4k version of PK which is all carbon and gives me a 
> Dmax of up to 2.5 depending on paper. The k2 version is optimised 
for 
> maximum Dmax and will go quite a lot higher than this at 3.2+ but 
as 
> I understand it K2 contains color pigments to achieve this Dmax so 
I 
> have stuck with the 4k in this R1800.  
> 
> One does need to be ever vigilant of banding with the R1800 but I 
> have found that with multiple inks in this set up it has not reared 
> its head again.
> 
> I am now looking at the possibilities of diluting one or two of the 
> ink positions as I am seeing a little too much grain (for my taste) 
> on photo papers in areas of very gradual light tone transitions. 
Matt 
> papers are very smooth, grain perhaps visible under a microscope 
but 
> not to my eyes.
> 
> Regards
> 
> Alistair Owens
>
I was just looking at an 1800 because the price was marked down. I 
was going to use my 200 as a b&w printer.(too old and slow?) So can 
someone tell me where to get the b&w carts for the 1800?