Digital BW, The Print

I've been away for a few months from this group and, of course ;-), Paul has come up with yet another innovative ink set-up. I bow deeply for your creativity and commitment....

As always, this immediately triggers my dreams for this optimal, fully netural matte+glossy ink set-up that I've not found yet. Still dreaming about a large format printer.....

But based on Paul's note

http://www.paulroark.com/BW-Info/Ink-Mixing.pdf

This seems to come very close.

If the criteria are:
- neutral B&W - adjustable to a paper, but no further toning needs
- matte + glossy 
- high archival quality
- of course: excellent print smoothness
- usable on a 4 pl printer, including large format

low cost is always helpful, but not necessarily the lowest cost possible

Then setup it seems that this could fit the bill for a 6 ink setup

MK - Eboni
PK - HP
LK - carbon as warm toner
LK and LLK - diluted HP-PK as cool/neutral toners
glop

For a 7 ink printer I see three options for the extra slot
1) LLK carbon 
2) LLLK HP-PK
3) UT-3D selenium toner

The criterium between 1) and 2) would be what would give the smoothest print (any idea). 3) would allow for lab-a control thus giving full control on print neutrality. But 3) is most likely not suitable for a large format printer. A magenta ink could do the job for the lab-a control as well, but that is probably affecting the smoothness and archivability too much.
 
Does this make sense?

Joost

"Joost Horsten" <j.h.j.h@...> wrote:

> ... Paul has come up with yet another ... ink set-up. 

It's a desease. 

> ...

There are lots of alternative setups, depending on what one wants to achieve.  For my old 7500 the dot size restricts the flexibility, but for K2 or above, matte and glossy neutral printing with Eboni and HP inks, and derivatives looks good.  


> A magenta ink could do the job for the lab-a control as 
> well, but that is probably affecting the smoothness and 
> archivability too much.

The good news is that the paper manufacturers almost always set Lab A to slightly positive (according to my spectro, and with these very low lab values, spectros can vary), and the pigmented inksets usually leave the Lab A at about the same level.  (Claria BO is ugly green, in my view.)

The bad news is that controlling Lab A usually takes some magenta, and that is one of my least favorite pigments.  The UT-3D inkset was an attempt to control Lab A.  Having this control is also a mixed bag.  it makes profiling more difficult.  So, UT3D was also an attempt to make an approach that would allow the profiling software to take care of the problem.  While it worked to a certain extent, I don't think it was worth the effort.  So, I usually just leave Lab A where it is.

On that subject, in my testing various papers, I've found that the more elevated Lab A used by Premier Imaging in its Smooth BW paper I use is the most effective at fighting the greenies if there is any fluorescent lighting in the room. With the pressure to go to efficient compact fluorescent light, including floods, this elevated Lab A gives that paper a real advantage.  Until we get fluorescent lights with CRIs in the 90's, fighting the green will continue to be a serious issue for me, perhaps enough to keep me with my Eboni/Carbon-6 approach and Premier Art Smooth BW, even with its OBAs.

Paul
www.PaulRoark.com

I never gave the likelihood of more fluorescent lighting being used now and in the future much thought; now I certainly shall.

Just one more variable to consider...thanks, Paul.

Sarah


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark" <pr_roark@...> wrote:

>
> "Joost Horsten" <j.h.j.h@> wrote:
> 
> > ... Paul has come up with yet another ... ink set-up. 
> 
> It's a desease. 
> 
> > ...
> 
> There are lots of alternative setups, depending on what one wants to achieve.  For my old 7500 the dot size restricts the flexibility, but for K2 or above, matte and glossy neutral printing with Eboni and HP inks, and derivatives looks good.  
> 
> 
> > A magenta ink could do the job for the lab-a control as 
> > well, but that is probably affecting the smoothness and 
> > archivability too much.
> 
> The good news is that the paper manufacturers almost always set Lab A to slightly positive (according to my spectro, and with these very low lab values, spectros can vary), and the pigmented inksets usually leave the Lab A at about the same level.  (Claria BO is ugly green, in my view.)
> 
> The bad news is that controlling Lab A usually takes some magenta, and that is one of my least favorite pigments.  The UT-3D inkset was an attempt to control Lab A.  Having this control is also a mixed bag.  it makes profiling more difficult.  So, UT3D was also an attempt to make an approach that would allow the profiling software to take care of the problem.  While it worked to a certain extent, I don't think it was worth the effort.  So, I usually just leave Lab A where it is.
> 
> On that subject, in my testing various papers, I've found that the more elevated Lab A used by Premier Imaging in its Smooth BW paper I use is the most effective at fighting the greenies if there is any fluorescent lighting in the room. With the pressure to go to efficient compact fluorescent light, including floods, this elevated Lab A gives that paper a real advantage.  Until we get fluorescent lights with CRIs in the 90's, fighting the green will continue to be a serious issue for me, perhaps enough to keep me with my Eboni/Carbon-6 approach and Premier Art Smooth BW, even with its OBAs.
> 
> Paul
> www.PaulRoark.com
>