I too am in the market for a new printer, but it must be capable of
producing B/W prints at least to the standard of my 1160 or my 3000.
At the moment I am not hearing that.
I agree that both traditional prints and Piezo prints will both show
some color shifting under different viewing lights. With the current
inks available, most are perfectly acceptable and give a good gamma.
The question that I still have is:- Is the 2200 better, or not, than
the exsiting solutions?"
Barry Foster
Who Dares Wins
--- In DigitalBlackandWhiteThePrint@y..., Truman Prevatt
<tprevatt@m...> wrote:
> If I take - which I have done - a print for a collection of prints
I
> have by Howard Bond, a fairly reasonable photographer and a good
> printer, and view them in strong sunlight, then tungsten light,
then
> warm florescent light, then cold florescent light, then open shade
> "skylight," I am going to have a different color cast on the
prints
> since the light that is being reflected off of them is different.
No
> passive reflective medium can reflect neutral gray independent of
the
> light source. The "color shift" (which it is not really shifting
any
> colors - it's only reflecting what is incident on it ) may be
subtle but
> it will be there. Even Ansal Adams notes this in "The Print" where
he
> states, "I consider the best gallery illumination a mixture of
daylight
> and tungsten lighting. Prints that are displayed under tungsten
light
> will appear warmer in tone than under daylight illumination, say a
north
> skylight. Daylight alone is often too "cold" for optimum display
> effects." The "shift" may or may not be more pronounced in the
2200,
> but it's there in all black and white media.
>
> My viewing area is a mixture of open skylight with reflections off
> cypress walls and halogen track lighting. Cypress wood imparts a
warm
> tone to the light in the house as it does to any reflected light
off the
> track lighting. I personally prefer prints on the cool side - I
do not
> like the to coin a term from Ansal Adams "olive green" cast of
warm tone
> photographs. That's why all my silver prints are toned pretty
heavily in
> selenium toner. My question is can the 2200 be used to produce
what ever
> type as far as warmth or coolness of B and W prints I would like
or do
> I need to go the 1280 route with an MIS hextone setup?
>
> Any thoughts on this. I don't want to make a 600 dollar mistake
which is
> about what either path will cost.
>
> Truman
>
> scho_2000 wrote:
>
> > > Two issues, really: slight metamerism in the new "metamerism-
free"
> > inks,
> > and
> > > slight crossovers in the new "perfect profiles". We all knew
> > perfection was a
> > > bit much to ask, the question now is how acceptable the real
world
> > results
> > > are to individual users.
> > >
> > > C. David Tobie
> > > Design Cooperative
> > > CDTobie@d...
> > Probably quite acceptable for the casual BW printer and not
quite
> > acceptable
> > for the purist. I compared a favorite image today printed on
both the
> > 2200 and
> > my 1270 with MIS VM. The VM neutral/warm is probably the closest
> > comparison for overall tone. Side by side I prefer the VM print
> > because of the
> > deeper blacks, but I still have to wait to get my matte black
ink for
> > the 2200 for
> > another comparison.