Digital BW, The Print

Question 3:  I have switched between photo and matte black cartridges several times, holding the reserve one upright with a piece of scotch tape over the ink nozzle, and have had no problems.
Donald

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

You're probably risking more with the tape goothan without tape. I've
read (fwiw) that carts are self-sealing... 



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "dschiemann"
<DSCHIEMANN@p...> wrote:
> Question 3:  I have switched between photo and matte black
cartridges several times, holding the reserve one upright with a piece
of scotch tape over the ink nozzle, and have had no problems.

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

Thansk. Switching matte/photo on the 2200 should be one headache to
not have :-)

Scott

dschiemann wrote:

> Question 3: I have switched between photo and matte black cartridges 
> several times, holding the reserve one upright with a piece of scotch 
> tape over the ink nozzle, and have had no problems.
> Donald
>
> [Non-text portions of this message have been removed]
>
>
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I recently started printing using a C86, Mis EZ inks and Paul's 
settings. So far, my prints on PremierArt Hot Press using Pauls settings 
come out darker than my calibrated monitor. (I've also got Kirkland 
paper on the way.)  Both the high print values (lighter values) and the 
low print values (darker values) print too dark. This is especially 
noticiable in the lower print values which lose a tremendous amount of 
detail compared to the screen image.  I've tried the Zuber Photographic 
method of setting a black and white adjustment curve, but this didn't 
have much effect. Could I use my MacBeth reflection densitometer to make 
a Photoshop CS curve that would get me better output? Perhaps by 
printing a step wedge, taking readings, and making a custom curve? I've 
looked for a description of a good method on the web, but I've come up 
short. Any suggestions?

On another front, I'm having some problems with what traditional 
photographers call 'pepper fogging', something that Sterling Lith paper 
did all too often when using Tim Rudman's Lith printing method. 
Basically, once one got the dilute lith developer to the near exhaustion 
stage, usually the stage that would give the most interesting results, 
all of a sudden small black specks would appear on the print.  Well, I 
get these specks on my inkjet prints, and they're really annoying. With 
silver paper, I'd use tincture of iodine on a sharpened toothpick to 
bleach the spots, re-fix, wash, dry, and spot to get rid of the specks. 
Are these black pin pricks of ink common to ink in otherwise light 
smooth toned areas unavoidable with inkjet printing? Can anything be 
done to prints that have them? For example, can they be knifed out?

Thanks,
Peter

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Scott McLoughlin
<scott@a...> wrote:
> Thansk. Switching matte/photo on the 2200 should be one headache to
> not have :-)
> 
It isn't a headache...easy as pie, zero problems, perhaps better than
more complex systems.

Peter,  pepper grain:

Are you scanning? I had pepper almost always (depending on film stock)
with Nikon's scanning application, vanished it totally when using that
application neg>neg>pos but then produced MUCH better results
(startlingly good...better than my own good silver prints) with ease
using VueScan Pro (don't recall why I got the "Pro" version, maybe I
was feeling inferior that day). 

 I'm having some problems with what traditional 
> photographers call 'pepper fogging'

> Are these black pin pricks of ink common to ink in otherwise light 
> smooth toned areas unavoidable with inkjet printing?  

I've not seen pepper with Nikon since switching to VueScan or ever
with Epson flatbed/Silverfast/Epson OEM, even blown up to 12X18.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Peter De Smidt
<pdesmidt@T...> wrote:
> I recently started printing using a C86, Mis EZ inks and Paul's 
> settings. So far, my prints on PremierArt Hot Press using Pauls
settings 
> come out darker than my calibrated monitor. 

Stating that you have a "calibrated monitor" doesn't tell enough about
your situation, as it give no information about the luminance value
your monitor is adjusted to. If you have your monitor adjusted to a
high luminance value --e.g., near (or antwhere above) 100 cd/m2, then
you will be having exactly the problem you describe. The easiest
solution would be to adjust the monitor luminance to a more reasonable
level, which (IMHO) is somewhere around 85 cd/m2. Your prints will
match better, and your eyes will appreciate the "rest".

Of course if your prints had _not_ been relatively too dark when you
previously were printing with other printers/inks/paper, then I
suppose your problem lies elsewhere (something other than level of
monitor luminance). 

Phil

Phil Rose wrote:

>Stating that you have a "calibrated monitor" doesn't tell enough about
>your situation, as it give no information about the luminance value
>your monitor is adjusted to. If you have your monitor adjusted to a
>high luminance value --e.g., near (or antwhere above) 100 cd/m2, then
>you will be having exactly the problem you describe. The easiest
>solution would be to adjust the monitor luminance to a more reasonable
>level, which (IMHO) is somewhere around 85 cd/m2. Your prints will
>match better, and your eyes will appreciate the "rest".
>
>Of course if your prints had _not_ been relatively too dark when you
>previously were printing with other printers/inks/paper, then I
>suppose your problem lies elsewhere (something other than level of
>monitor luminance). 
>
>Phil
>
>  
>
My monitor is calibrated with the PhotoCal spyder.  I'm not sure what 
the luminance level is, but I'll re-calibrate tonight when it's 
completely dark outside.  I should be able to tell when I do this.

My color prints on the C86 and Epson Premium Glossy paper turn out just 
fine.

-Peter