Digital BW, The Print

When I saw the 2000P at PPA in July 2000, they were spitting out prints  
signed by Lisa Jane Murphey of a little girl with wings in fantasy forest.  
Printing on the new Luster Paper, it was pretty impressive at first.
 
So I made the demo lady type in a custom test patch in PS will all  
combinations of 255 and 0. I ended up with 6 squares RGBCMY. The pure yellow  square 
looked greenish, later confirmed when compared to the same file printed  on my 
1200 (or maybe a 1270 by then, I don't remember) dye printer.
 
So if the yellow is greenish right out of the jets, how can it not  
contribute metermeric behaviors? At least in the case of that particular inkset,  
anyhow.
 
Claude


[Non-text portions of this message have been removed]

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, claudej1@a... wrote:
...
> So if the yellow is greenish right out of the jets, how can it not  
> contribute metermeric behaviors? At least in the case of that
particular inkset,  
> anyhow.

I'm sure you are right, I was talking about the Ultrachromes, the
2000P inkset is dead though I'm sure they'd be happy to sell you some.
Tyler

Actually it all has to do mostly with good profiling. I am always amazed at how a company 
like Epson, who has such brilliant engineers designing for them, have such ill informed, 
clueless and unprepared sales people - reminds me of the old Kodak days. They've yet to 
tell people how to use their canned profiles. 

 I have used the Epson "archival" inkset in my 10K for millions of intense yellows oranges 
and reds with very little metamerism for color work ( monochrome work is another story). 
But they never equal dye prints and I rarely need that. You need a good custom profile for 
that printer for a particular media. I have had about 10 profiles in all made from Profile 
City. The real issue with that origninal CF pigment inkset is the WEAKER gamut of the 
yellow channel ( not it's hue). As far as stability goes, Yellow is the weak link. That is what 
Epson redesigned for the Ultrachrome set ( along with an additional black ) which cut the 
longevity in half. But as Jon Cone has shown in years past, so much can be done with the 
particular driver as well. The driver on the 2000P was bad and similarly the 7500 and 9500 
printers. But, I am still very happy with my 10,000's performance for a huge variety of 
work. You know the Ultrachrome inks have metamerism too. You notice it a lot in warm 
prints under tungsten light and especially with monochrome prints. Roy Harrington's QTR 
rip does wonders for controling that. But as you guys already know, nothing beats quad 
carbon pigment for the real thing.