Digital BW, The Print

The methods and materials to print B&W images on the Epson 2200 have 
been changing quickly over the last few months, as documented on the 
DigitalBlackandWhiteThePrint list.  Mostly to get it all straight for 
myself, but also for those who have not been closely reading along, I 
thought I would put together a summary of the present possibilities 
for B&W printing on the Epson 2200. 

I am sure I have missed something or misreported something, so please 
correct me if I have misrepresented anything.

Things are changing fast for B&W printing on the 2200.  Six months 
from now the picture will certainly look much different.  Stay tuned.


1) Ink: Epson 
Driver: Epson with Stock or ICC curves
Results:  This is the 2200 "out of the box".  Tonality is fully 
controlled.  Metamarism is unacceptable for all but the most heavy 
sepia toning.

2) Ink: Epson 
Driver: Imageprint RIP
Results:  Metamarism is eliminated and tonality is under full 
control.  Imageprint RIP is very expensive ($500), and there is a 
learning curve with the minimally documented software.  A number of 
people have acheived very good results.

3) Ink: Epson 
Driver: OPM/IJC RIP
Results:  Presently available only on Mac's.  Metamarism is 
eliminated and tonality is under full control.  OPM/IJC RIP is 
expensive ($200), and the software is still officially in beta 
testing.  A couple of people have acheived very good results.

4) Ink: Epson 
Driver: Epson RIP
Results:  Metamarism is reported to be eliminated, but tonal control 
may be very limited.  Epson RIP is expensive ($200), and there is a 
software learning curve (documentation?).  A few people have acheived 
satisfactory results.

5) Ink: MIS FS/VM/Ultratone 
Driver: Epson stock with Roark curves
Results:  Not available for the 2200 yet.  Inks theoretically should 
work for the 2200, but only one person has tried them yet (see next 
entry).  Blank cartridges for the 2200 might be available soon.  
Since Paul Roark does not have access to a 2200, there are no plans 
for curves and a workflow (MIS might benefit greatly from finding a 
way for Paul Roark to "access" a 2200...)  Theoretically metamarism 
is eliminated and tonality is under limited control.  

6) Ink: MIS Ultratone 
Driver: Epson RIP?
Results:  One person has tried flushing and refilling, with 
satisfactory results.  Details are sketchy.

7) Ink: Piezography Quadtone
Driver: Epson stock with ICC curves
Results:  Not available for the 2200 yet, and the new Jon Cone inks 
and ICC workflow documentation make no mention of when they might be 
available for the 2200.  Inks theoretically might work for the 2200.  
Theoretically metamarism is eliminated and tonality is under limited 
control.  Questions about the high-dmax ink archival stability have 
been raised.

8) Ink: Sundance Septone 
Driver: R9 PixelPixasso RIP 
Results:  Latest estimate for availability for 2200 was "late March", 
but not available as of this writing.  I have heard no reports of 
anyone using the presently available inks and software. Theoretically 
metamarism is eliminated and tonality is under limited control. 

9) Ink: Other inks 
Driver: Other drivers
Results:  Other inks like Lyson, used alone or in combination with 
inks from other suppliers, are either not available for the 2200 or 
have not been tried on the 2200 by anyone reporting results to this 
list.

10)Ink: Bulk ink in "CIS" delivery system
Driver: Any
Results:  No bulk ink feed system is yet available for the 2200.  
There have been some rumblings about future availability.

> The methods and materials to print B&W images on the Epson 2200 have
> been changing quickly over the last few months, as documented on the
> DigitalBlackandWhiteThePrint list.  Mostly to get it all straight for
> myself, but also for those who have not been closely reading along, I
> thought I would put together a summary of the present possibilities
> for B&W printing on the Epson 2200.

Thanks for a good summary! I think something like this should be put in
the files section or on a web page as this is a frequent question among
new users of the 2100/2200.
Some comments below:

> 1) Ink: Epson
> Driver: Epson with Stock or ICC curves
> Results:  This is the 2200 "out of the box".  Tonality is fully
> controlled.  Metamarism is unacceptable for all but the most heavy
> sepia toning.

You forgot to mention BO with a reference to Clayton's excellent articles
about the subject.
> 5) Ink: MIS FS/VM/Ultratone
> Driver: Epson stock with Roark curves
> Results:  Not available for the 2200 yet.  Inks theoretically should
> work for the 2200, but only one person has tried them yet (see next
> entry).  Blank cartridges for the 2200 might be available soon.

From the mail I got from MIS it sounded like empty cartridges could take
at least another few months. Their supplier hasn't given them a specific
date yet.
So far the 2200 with Epson cartridges seems to be an excellent subject for
refills though. I have not been very careful when refilling my cartridges
- mixing different types of inks, flushing them with tap water, cutting
them with knives, changing chips, loosing pieces of plastic inside the
cartdridge and so on - but I have yet to experience a single clog from the
printer. Usually one cleaning cycle is enough to get the ink flowing.
This is the best resource for how to refill the 2100:
http://www.anestoday.com/epson2200/

These instructions could also be used by anyone wanting to build their own
CIS.
> Since Paul Roark does not have access to a 2200, there are no plans
> for curves and a workflow (MIS might benefit greatly from finding a
> way for Paul Roark to "access" a 2200...)  Theoretically metamarism  is
> eliminated and tonality is under limited control.
> 6) Ink: MIS Ultratone
> Driver: Epson RIP?

Nope. I'm just using the default Epson drivers.

> Results:  One person has tried flushing and refilling, with
> satisfactory results.  Details are sketchy.

For matte papers the refills works beautifully. The light black seem to be
interfering with the cyan position though, if I'm not mistaken they're
very similar, if not identical in tone. I get around this by reducing the
amount of cyan with a curve.
On RC papers with photo black It's just not possible to get a cool tone,
for some reason the photo and light black together make it impossible to
cool down the shadow areas. Also there is a problem with too much ink in
the shadow areas, I suspect it's related to the cyan/light black conflict
I mentioned above.
I think the inkset itself needs some modifications to effectively print on
all papers with the 2100 and the Epson driver.
Conlusion: Works very well on matte papers, but not on RC and Glossy papers.

> 9) Ink: Other inks
> Driver: Other drivers
> Results:  Other inks like Lyson, used alone or in combination with
> inks from other suppliers, are either not available for the 2200 or
> have not been tried on the 2200 by anyone reporting results to this
> list.

A sales representative from Lyson told me that they would be releasing
inks and a CIS by the end of march, but since then I've heard absolutely
nothing from them.
> 10)Ink: Bulk ink in "CIS" delivery system
> Driver: Any
> Results:  No bulk ink feed system is yet available for the 2200.
> There have been some rumblings about future availability.

There's at least two available:
http://mwords.co.uk/pages/cis/info2100CIS.htm
http://www.mediastreet.com

Thanks for a much-needed summary!  Regarding Method 4:

> 4) Ink: Epson 
> Driver: Epson RIP
> Results:  Metamarism is reported to be eliminated, but tonal 
control 
> may be very limited.  Epson RIP is expensive ($200), and there 
is a 
> software learning curve (documentation?).  A few people have 
acheived 
> satisfactory results.
> 
I tried this method because it was recommended by George 
DeWolfe in Camera Arts magazine.  The Mac version of Epson's 
RIP works only with OS9 (whereas ImagePrint for Mac works 
only with OS X).  I found the documentation inadequate & the 
software counter-intuitive, but finally got it going.  I was, however,  
unable to print with all colors, getting quite mottled results at that 
setting - despite DeWolfe's  statement that the color setting 
worked well for him (from previous articles, I believe he also 
uses a Mac).  

What did seem to work was using the black ink setting, which I 
suspect  kicks in both the matte black (for Enhanced Matte 
paper) & the light black.  I could find no manual feed setting for 
this driver, so I couldn't try Velvet Fine Art paper (which is what I 
would've preferred to use).

The prints on Enhanced Matte were quite luminous, and I got rid 
of most of the magenta cast of the regular Epson driver.  They 
are not, however, neutral prints - they're quite warm, rather like 
darkroom prints on the old Portriga Rapid 111 paper with 
selenium toner.  The tone isn't adjustable (as on ImagePrint).

If anyone gets good results with all-color inks and this driver, 
please let me know - I'd like to figure out what I'm doing wrong! 

I would suggest that if you use XP or OS X, you'll probably get 
better results with ImagePrint - another studio in my 
neighborhood uses a 9600 with ImagePrint, & the results are 
marvelously neutral, so I suppose the "lite" version for 2200 is 
worth the money.   

Kirk
thompsonkirk@...

One more:

iProof PowerRIP 2000
This is the one I've used until now. It lets you print without
metamerism, but has a more coarse dot pattern than the Epson driver.
It's easy to use, and requires no special setting for grayscale, you
just print as regular RGB. This means it's possible to combine color and
BW in the same print, and make tonal adjustments using regular curves.
You need to print at 2880dpi to get decent reults, so it's really slow.
It costs about $280 and has a free, downloadable demo.

--
Daniel Staver
Petraflux Web-design | http://www.petraflux.com
Tel +47 22 35 44 57 | +47 Fax 22 35 40 66

> -----Original Message-----
> From: rhelllics [mailto:rhellics@...] 
> Sent: 24. april 2003 18:19
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Subject: [Digital BW] B&W on Epson 2200 -- A Summary
> 
> 
> 
> The methods and materials to print B&W images on the Epson 2200 have 
> been changing quickly over the last few months, as documented on the 
> DigitalBlackandWhiteThePrint list.  Mostly to get it all straight for 
> myself, but also for those who have not been closely reading along, I 
> thought I would put together a summary of the present possibilities 
> for B&W printing on the Epson 2200. 
> 
> I am sure I have missed something or misreported something, so please 
> correct me if I have misrepresented anything.
> 
> Things are changing fast for B&W printing on the 2200.  Six months 
> from now the picture will certainly look much different.  Stay tuned.
> 
> 
> 1) Ink: Epson 
> Driver: Epson with Stock or ICC curves
> Results:  This is the 2200 "out of the box".  Tonality is fully 
> controlled.  Metamarism is unacceptable for all but the most heavy 
> sepia toning.
> 
> 2) Ink: Epson 
> Driver: Imageprint RIP
> Results:  Metamarism is eliminated and tonality is under full 
> control.  Imageprint RIP is very expensive ($500), and there is a 
> learning curve with the minimally documented software.  A number of 
> people have acheived very good results.
> 
> 3) Ink: Epson 
> Driver: OPM/IJC RIP
> Results:  Presently available only on Mac's.  Metamarism is 
> eliminated and tonality is under full control.  OPM/IJC RIP is 
> expensive ($200), and the software is still officially in beta 
> testing.  A couple of people have acheived very good results.
> 
> 4) Ink: Epson 
> Driver: Epson RIP
> Results:  Metamarism is reported to be eliminated, but tonal control 
> may be very limited.  Epson RIP is expensive ($200), and there is a 
> software learning curve (documentation?).  A few people have acheived 
> satisfactory results.
> 
> 5) Ink: MIS FS/VM/Ultratone 
> Driver: Epson stock with Roark curves
> Results:  Not available for the 2200 yet.  Inks theoretically should 
> work for the 2200, but only one person has tried them yet (see next 
> entry).  Blank cartridges for the 2200 might be available soon.  
> Since Paul Roark does not have access to a 2200, there are no plans 
> for curves and a workflow (MIS might benefit greatly from finding a 
> way for Paul Roark to "access" a 2200...)  Theoretically metamarism 
> is eliminated and tonality is under limited control.  
> 
> 6) Ink: MIS Ultratone 
> Driver: Epson RIP?
> Results:  One person has tried flushing and refilling, with 
> satisfactory results.  Details are sketchy.
> 
> 7) Ink: Piezography Quadtone
> Driver: Epson stock with ICC curves
> Results:  Not available for the 2200 yet, and the new Jon Cone inks 
> and ICC workflow documentation make no mention of when they might be 
> available for the 2200.  Inks theoretically might work for the 2200.  
> Theoretically metamarism is eliminated and tonality is under limited 
> control.  Questions about the high-dmax ink archival stability have 
> been raised.
> 
> 8) Ink: Sundance Septone 
> Driver: R9 PixelPixasso RIP 
> Results:  Latest estimate for availability for 2200 was "late March", 
> but not available as of this writing.  I have heard no reports of 
> anyone using the presently available inks and software. Theoretically 
> metamarism is eliminated and tonality is under limited control. 
> 
> 9) Ink: Other inks 
> Driver: Other drivers
> Results:  Other inks like Lyson, used alone or in combination with 
> inks from other suppliers, are either not available for the 2200 or 
> have not been tried on the 2200 by anyone reporting results to this 
> list.
> 
> 10)Ink: Bulk ink in "CIS" delivery system
> Driver: Any
> Results:  No bulk ink feed system is yet available for the 2200.  
> There have been some rumblings about future availability.
> 
> 
> 
> 
> 
> 
> 
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--- In DigitalBlackandWhiteThePrint@yahoogroups.com, 
"rhelllics" <rhellics@h...> wrote:
> 
> The methods and materials to print B&W images on the Epson 
2200 have 
> been changing quickly over the last few months, as 
documented on the 
> DigitalBlackandWhiteThePrint list.  Mostly to get it all straight 
for 
> myself, but also for those who have not been closely reading 
along, I 
> thought I would put together a summary of the present 
possibilities 
> for B&W printing on the Epson 2200. 
> 
> I am sure I have missed something or misreported something, 
so please 
> correct me if I have misrepresented anything.
> 
> Things are changing fast for B&W printing on the 2200.  Six 
months 
> from now the picture will certainly look much different.  Stay 
tuned.
> 

It is a pretty big list.

For an OS X with Gimp-print solution, I've got a package
that was originally conceived for quadtone printing but some
have used it for the 2200.

It's somewhat similar to the OPM/IJC solution in that it's
based on gimp-print.  There's more to come, stay tuned.

Look for QuadToneRIP on my website:

http://www.harrington.com

Roy

On 4/24/03 12:59 PM, "Kirk Thompson" <thompsonkirk@...> wrote:

> What did seem to work was using the black ink setting, which I
> suspect  kicks in both the matte black (for Enhanced Matte
> paper) & the light black.  I could find no manual feed setting for
> this driver, so I couldn't try Velvet Fine Art paper (which is what I
> would've preferred to use).

This only uses the black ink...no light black.

Robert

This summary and resulting thread was a good idea - thanks for the initiative. I 
put a link to this thread in the Links area of the group home page.

Some comments:

- ImagePrint: 
The platforms for each software should be an important part of a summary. 
 I believe ImagePrint  is Windows and Mac OS X only. Also, when you judge 
its price as "very expensive", you may also consider its added functionality 
for  color  printing. For some it's worth paying the cost of a single software for 
both color and bw. 

- IJC is presently available for Mac OS 8 and 9. It is not "officially in beta 
testing". IJC release v.1 is currently available for  purchase. OPM is a free 
download. Development continues of course with bug fixes etc to come, but it 
has "officially" been released. 

Besides the 2200, other printers are supported by many of the software in 
your summary,and that should also be factored in when judging prices: how 
does licencing work for each.

Also print software that is not Photoshop dependent, frees up an expensive 
Photoshop licence from printing chores. For some users, it's worth a couple 
of hundred bucks to free up a $700 software.

Another pricing consideration: some software may be "bundled" or limited to 
use with one brand of inks. Its value is limited compared to "open" solutions. 
On the other hand, a software that is platform independent (curves or ICC 
profiles) may be more valuable in some evironmments.


Antonis

> 
> This only uses the black ink...no light black.
> 
> Robert


Hi Robert-

Do you know what inks are used when you use the IP grayscale profiles?

cheers,

tom o'connell

> Do you know what inks are used when you use the IP grayscale profiles?
>  
> tom o'connell

All inks but yellow!

On 4/25/03 11:48 AM, "tomoc" <TomOC@...> wrote:

> 
>> 
>> This only uses the black ink...no light black.
>> 
>> Robert
> 
> 
> Hi Robert-
> 
> Do you know what inks are used when you use the IP grayscale profiles?
> 
> cheers,
> 
> tom o'connell
> 
> 
Well depending who you talk to it is either black, light black, light cyan
and light magenta...or it also includes cyan and magenta.  Even at the
warmest setting in IP there is a lot of photo cyan and photo magenta.  The
one sure thing is that there is no yellow when you are giving it grayscale
files and using gray profiles.  In contrast IJC allows you a much broader
tonal range than IP.

Robert

I now have a week or so experience with the Epson RIP, I am still at 
a loss with how to set/adjust some of the settings but also was able 
to get things so the prints do look good.  

I use EAM and Matte Black. One need so set the "preferences" for this 
ink (the manual which bears a passing resemblance to the actual 
program seems to say that only Photo Black is supported for the 
2100/2200).  Once set it does not reset.  I found the easiest way to 
bring up these settings is to go the the "Printers and Faxes" section 
of XP "Settings" (not sure where this would be on a MAC) and right 
clicking on the RIP 2200 icon. There is also a way to set the default 
printer settings (the ones that come up during the print driver 
diaglog boxes).  

I also use the "DeWolf" settings.  I tried changing the ink to 
the "color" setting from the "greyscale" setting. Image was more 
contrasty and lighter for the greyscale setting. I tried adjusting 
the tone (color) of the image with PS color balance and on screen 
could get a B&W RGB image to have the tone of a selenium toned print, 
printing it however produced a print with the desired tone, some 
unexpected magents shifts and a significant blocking of the shadows.  

Overall on a XP home computer, using EAM/Matte Black, Setting Matte 
Black in the printer preferences and using the DeWolfe setting 
produces very neutral, slightly warm, prints with a good tonal range 
and detailed shadows. I could still use darker blacks and I would 
still like to know how I might change the ICC profiles assigned to 
specific papers.

Robert




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Kirk Thompson" 
<thompsonkirk@h...> wrote:
> Thanks for a much-needed summary!  Regarding Method 4:
> 
> > 4) Ink: Epson 
> > Driver: Epson RIP
> > Results:  Metamarism is reported to be eliminated, but tonal 
> control 
> > may be very limited.  Epson RIP is expensive ($200), and there 
> is a 
> > software learning curve (documentation?).  A few people have 
> acheived 
> > satisfactory results.
> > 
> I tried this method because it was recommended by George 
> DeWolfe in Camera Arts magazine.  The Mac version of Epson's 
> RIP works only with OS9 (whereas ImagePrint for Mac works 
> only with OS X).  I found the documentation inadequate & the 
> software counter-intuitive, but finally got it going.  I was, 
however,  
> unable to print with all colors, getting quite mottled results at 
that 
> setting - despite DeWolfe's  statement that the color setting 
> worked well for him (from previous articles, I believe he also 
> uses a Mac).  
> 
> What did seem to work was using the black ink setting, which I 
> suspect  kicks in both the matte black (for Enhanced Matte 
> paper) & the light black.  I could find no manual feed setting for 
> this driver, so I couldn't try Velvet Fine Art paper (which is what 
I 

> would've preferred to use).
> 
> The prints on Enhanced Matte were quite luminous, and I got rid 
> of most of the magenta cast of the regular Epson driver.  They 
> are not, however, neutral prints - they're quite warm, rather like 
> darkroom prints on the old Portriga Rapid 111 paper with 
> selenium toner.  The tone isn't adjustable (as on ImagePrint).
> 
> If anyone gets good results with all-color inks and this driver, 
> please let me know - I'd like to figure out what I'm doing wrong! 
> 
> I would suggest that if you use XP or OS X, you'll probably get 
> better results with ImagePrint - another studio in my 
> neighborhood uses a 9600 with ImagePrint, & the results are 
> marvelously neutral, so I suppose the "lite" version for 2200 is 
> worth the money.   
> 
> Kirk
> thompsonkirk@h...

> If anyone gets good results with all-color inks and this driver, 
> please let me know - I'd like to figure out what I'm doing wrong!

You might check out my posting (26960) outlining how I was able to 
get good results with the 2200 RIP. The workflow applies to PC 
machines only since I don't have a Mac to fool around with.