Hi Markus -
I find very little metamirism (color shift under different light) with the 2200 on the matte paper or premium water color. When printing B&W on Premium Lustre Paper I can see a shift when moving the print from bright daylight to bright increscent light. In daylight I see a slight bronzing to the image, it is less under incandescent. On the matte and watercolor papers, I see no color shift at all.
My initial B&W prints with the 2200 had a distinct magenta tint to them, which I understand is a common problem. I found this article by Moose Peterson that discusses what he terms 'over profiling'.
http://www.moosegallery.com/articles/epson2200.html
The info in this link (which Moose took from the Epson PDF) really is the key:
http://www.moosegallery.com/assets/downloads/2200dialog.pdf
Printing with those settings I got a very neutral but very cold print. Comparing the prints on Epson matte paper to Ilford fiber paper, I realized that in part the matte paper is whiter than the fiber paper I was using. I also did the fiber prints as part of a class, knew nothing about darkroom prints (far cry from now when I know next-to-nothing) and have no idea what paper developer was used. The prints I get from the 2200 are neutral gray, but cold neutral gray. Except for prints that I like as cold, I use duotones in Photoshop to warm the tone a bit.
So, what I do is -
1. Open my B&W scan (which is 16 bit grayscale)
2. Convert to 8 bit grayscale.
3. Convert to duotone and select one of the 'warm gray' tritones from the Photoshop CS presets. My most common adjustment is 'Gay 401' - so once the image is 8 bit grayscale, in Photoshop CS go to mode>duotone>load>tritone>gray tritones>gray 401>OK.
4. Convert back to RGB (mode>RGB)
5. Select print with preview > page setup > Epson 2200 > properties -- to get into the printer dialog box.
6. Select 'advanced', set paper type, DPI, orientation, etc. Disable "high speed" and "edge smoothing". In the "color management" area select "ICM" and then "No color adjustment". Hit "OK"
7. Hit OK 2 more times till you are back at the basic print dialog box.
8. Click the 'show more options' box (if not already clicked).
9. Set source space to "Document" - it will show whatever profile is embedded in the document.
10. For print space, select the profile that corresponds to the paper and ink you are using - for me that is usually "SP2200 Enahnced Matte MK" ('MK' being the Matte Black ink. 'PK" is photo black.)
11. I typically use relative colermetric and enable black point compensation. Haven't fiddled enough with those settings to see what difference they make
12. PRINT!
For me this has worked great. I'm not real hung up on trying to duplicate any legacy darkroom process, but the results with the matte paper and water color paper are excellent - even if the papers are somewhat plain. Side by side with my fiber prints, the images look very comparable.
One thing - heavy black areas will smear on the matte paper, so be careful handling them.
I'm not familiar with the 2100 - the 2200 came with profiles for Epson Papers which makes this possible. AFAIK, the 2000p did not. I don't know about the 2100.
HTH -
- MCC
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Mark Cassino Photography
Kalamazoo, MI
www.markcassino.com
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----- Original Message ----- From: "Markus Maurer" <[EMAIL PROTECTED]>
To: <[email protected]>
Sent: Thursday, March 10, 2005 2:10 AM
Subject: RE: Paper Recommendations for Epson 2200
Hi Mark
Is the color tint always of the the same color (sepia, blueish or what?) or
does it change depending on the photo?
Do you use any special software or profile or RIP for b/w printing or just
the default?
I will try some black and white printing soon with the Epson 2100 photo here
and like to profit from your experiences ;-)
greetings Markus
paper for B&W - I can still detect a very slight color tint under certain light with the 2200 and Luster or Semi Gloss papers. For color work, all of the papers seem to do fine.
