Digital BW, The Print

I have been printing decent B/W on the 2200 with an IP v.6 RIP on Hahnemuhle Photo Rag 
188/308 (and rather lush color with this combination). For sales and museum collections I 
have been using an exceptional service bureau to produce quad tone warm neutral carbon 
ink Piezograhic images from Epson 7000 and 9000 printers. They suggested I look into Jon 
Cone NK 7 materials to use with my 2200. Does anyone out there have any ideas regarding 
the success of NK 7 and how it compares to matt black B/W output from the 2400 or how NK 
7 compares to Piezography printed on the 7000 or how the B/W fom my 2200/IP RIP 
compares to NK 7 or the 2400? I know the 7000 quad carbon inks prints have a black shadow 
depth that is magical and the 2200 Ultrachrome inkset even utilizing matt black is only 
adequate by comparison. If you can share any learning curve pitfalls to advoid or just make 
suggestions I would be very appreciative.
Robert von sternberg
rvsmalibu@...

I need some advice before I invest money, time, and learning in NK 7. Does anyone have any 
thoughts regading what it takes to master Jon Cone NK 7 inks and any software? How does it 
compare to my 2200 IP v.6 RIP gererated B/W? How does NK 7 compare to B/W from the 
2400? My wet darkroom B/W prints were always museum quality but the prints I have had 
made from an amazing digital service bureau in Portland, Oregon make my silver gelatin 
efforts appear somewhat pale by comparison. (My color prints from the 2200 have a lush rich 
aqua tint look to them and are quite satisfying). I proof my B/W images on the 2200 but all 
museum and private client images I have printed on a 7000 or 9000 series Epson using quad 
tone carbon ink (Piezography)from the above mentioned service bureau. The depth of 
shadow tone from the warm neutral inks exceed any thing I can obtain with my 2200 utilizing 
Epson inks. I only use matt black, proof on Enhanced Matt and print on Hahnemuhle Photo 
Rag 188/308. Suggestions, ideas, advice, HELP please.
Robert von Sternberg
rvsmalibu@...

Robert, 
I can't help you with your questiuons, sorry, but what service bureau 
did you use in Portland? 
I've used QTR, IP, and BO but they still don't compare in my opinion 
to darkroom print, so I have a great traditonal printer here in 
town.  I would like to try a couple of digital bureaus for 
comparsion..
SteveB


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "rvsatzuma" 
<rvsatzuma@y...> wrote:
>
> I need some advice before I invest money, time, and learning in NK 
7. Does anyone have any 
> thoughts regading what it takes to master Jon Cone NK 7 inks and 
any software? How does it 
> compare to my 2200 IP v.6 RIP gererated B/W? How does NK 7 compare 
to B/W from the 
> 2400? My wet darkroom B/W prints were always museum quality but the 
prints I have had 
> made from an amazing digital service bureau in Portland, Oregon 
make my silver gelatin 
> efforts appear somewhat pale by comparison. (My color prints from 
the 2200 have a lush rich 
> aqua tint look to them and are quite satisfying). I proof my B/W 
images on the 2200 but all 
> museum and private client images I have printed on a 7000 or 9000 
series Epson using quad 
> tone carbon ink (Piezography)from the above mentioned service 
bureau. The depth of 
> shadow tone from the warm neutral inks exceed any thing I can 
obtain with my 2200 utilizing 
> Epson inks. I only use matt black, proof on Enhanced Matt and print 
on Hahnemuhle Photo 

> Rag 188/308. Suggestions, ideas, advice, HELP please.
> Robert von Sternberg
> rvsmalibu@y...
>