Digital BW, The Print

I've made a curve (Photoshop) and ICC (Create ICC-RGB) for the 1400 
and Eboni-6 that makes the most dot free image I've ever scanned.  
See 1600 dpi scan at http://www.paulroark.com/BW-Info/1600-1400-
2200.jpg

I expect the same curve will be within linearization range for all 
matte papers.

By using the maximum amount of light ink I've also been able to hold 
the maximum Lab B (the main measure of carbon warmth) at 50% to less 
than Lab B = 1 on Premier Art Smooth BW.  So, the print is 
comparable, tonally, to what I've been printing with the 2200 and 
Carbon-6.  While these prints still have a slight apparent warmth due 
to the 3.5 unit rise in Lab B from the paper white, they look quite 
neutral if not cool matted with Light Impressions "Gallery White" mat 
board, which has a Lab B = 3 (warmer than the maximum Lab B in the 
print).  

(Note that the 2200 and presumeably similar older 3 - 4 picoliter 
printers can achieve about a .25 - .5 lower Lab B with a similar 
curve that was used with the 1400, but at this low level there is not 
enough difference to matter.)

Overall, the print tones with the 1400 will probably be about just 
slightly warmer than the tones for the 220 shown at
http://www.paulroark.com/BW-Info/Eboni-6.pdf .

The results with the 1400 and Eboni-6 are not quite perfect.  While 
the dot structure is, under a loupe or in a high resolution scan, 
substantially smoother, particularly at the higher densities, there 
is also some very fine microbanding with the 1400 mostly at close to 
75%.  I doubt anyone could see this in an actual print and without a 
loupe.  In fact, unless the light is straight on, the texture of even 
the very smooth Premier Art Smooth BW hides the defect.  Overall, the 
net image quality of the 1400 with Eboni-6 is probably better than 
the 2200 can achieve.  I'm suspicious that the 1400 dot structure is 
simply so fine that it shows microbanding that is probably just 
hidden by the dots of the older printers.

Overall, I think the image quality of the 1400 with Eboni-6 is 
probably the best I've seen.  

Because the 1400 also prints an Eboni black only with QTR that is 
smoother than the 1800, it makes a very flexible 100% carbon 
platform.  I perfer the 100% Eboni on un-brightened papers due to 
relatively neutral tones it can achieve.  (See the 1800 3-MK tones 
shown at http://www.paulroark.com/BW-Info/R1800-No-OBA-Paper.pdf )  
However, I prefer Eboni-6 for bright papers and where extreme 
smoothness is requires.  With the 1400 I can go both ways depending 
on the image and paper.

Of course for more flexibility in tones and glossy compatibility, the 
variable-tone UT14 inkset with its blended (carbon + color pigment) 
cool inks as well as the glossy carbon inks may be prefered by most 
casual B&W printers.  See http://www.paulroark.com/BW-Info/UT14.pdf  
The 100% carbon approach is for the purists who want the most stable 
prints possible.

Paul  
www.PaulRoark.com