Epson R2400 ink load

Hello,

Unfortunately I had to replace my Epson 2200, the poor thing died on me...

I just received a new R2400 but I am having trouble getting enough density on the negative (Pictorico Premium OHP). In other words, I have to put 25% more ink (through "Paper Config" in the driver) to get an equal opacity as I was used to get with my 2200 (I kept the last stepwedge made with the 2200).

I also had to slide the drying time to the maximum (50) to minimize "venetian blinds" effects and "pizza wheel" marks... But they're still there.

Inks are Epson original with Photo Black. Process is Pt/Pd.

I would welcome any suggestions. For the moment the stepwedge printing quality is nowhere near the 2200.

Thank you for any tips!

Jos?

JMF said:

Hello,


I just received a new R2400 but I am having trouble getting enough density on the negative (Pictorico Premium OHP). In other words, I have to put 25% more ink (through "Paper Config" in the driver) to get an equal opacity as I was used to get with my 2200 (I kept the last stepwedge made with the 2200).!

Jos

Click to expand...

Jose--
The Epson 2400 uses a different ink set (K3 ultrachrome inks) as opposed to the K2 Ultrachrome inkset used in the 2200. The K3 inkset has quite different Ultraviolet absorption than the older K2 inkset. In particular, Photo black in the newer K3 inkset is a rather poor UV absorber.
So, my first suggestion is to switch to using matte black as the dark black ink. Matte black in the K3 set absorbs more UV than does Photo black. Yellow is the next strongest UV absorber. So do your printing using the Advanced black and white option in the Epson printer driver, and use the color wheel to dial in as much yellow as you can. With Matte black and some yellow you should be able to get as much density as you need for pt/pd.
For more information on how to use the Epson driver to print dig negs, go to my web site www.ronreeder.com and look at the article titled "Digital Negatives with the Epson 3800 Printer and Driver". I think the 2400 uses essentially the same driver so the instructions should apply to that printer as well. Good luck.
Ron Reeder

Update:

Pizza wheels and venetian blinds seem to come together whenever there's more ink being deposited (+30% ink needed for an acceptable white on the print).

This explains why I didn't have that kind of problem with the 2200.

Whites or tracks & bands? Should one have to choose? Could this be a substrate problem? I didn't notice any of the above on a color, glossy print.

Is Pictorico OHP really the best?

Also, could anyone explain the difference in density (black ink deposited) between the 2200 and R2400?

Sorry, didn't see your post before. That makes sense, different inkset...

I thought matte black ink would smear on the semi gloss surface of Pictorico OHP? I remember forgetting to switch cartridges with the 2200 between a QTR matte paper printing session and OHP diginegs and, well, I realized my mistake as soon as the neg came out of the printer.

BTW, I normally use Chart Throbe in conjunction with an HSL array color to do my calibration.

Jos?

Ron,

Nice work by the way. The feeling reminds of Dominic Rouse, but different of course.

Jos?

Ron,

It could be me, but I could not find the article "Digital Negatives with the Epson 3800 Printer and Driver" in your articles section.

Jos?

JMF said:

Ron,

It could be me, but I could not find the article "Digital Negatives with the Epson 3800 Printer and Driver" in your articles section.

Jos

Click to expand...

Jose-
The website is a bit funky. Go to the Home Page, scroll down, and you will find a link to the dig negs with Epson driver article. somehow the article never made it back to the "Articles" page. But it can be downloaded from the homepage, I hope. Cheers, Ron Reeder

I found it.

Thanks.

Jos?

In case it might be helpful to anyone, here's what I did regarding the problems mentioned above:

Pizza wheel tracks Problem:
During the night, Mozart sneaked into my dream and said: "JMF, just get rid of the bloody thing!" - which I did; removing the wheels was easy and required no tools, but it helps to have long, elegant fingers. Fat finger owners might need the help of a screwdriver.

Venetian blinds Problem:
With the 30% increase of ink deposit, the negative needs more time to rest and dry. The effect was hardly noticeable this morning, and it didn't show up on the final print at all. It does help to have something "welcoming" the negative out of the printer. Music is good, but since the sheet of Puertorico OHP comes out of the printer quite high up compared to the level of the tray receiving it (7cm/3in) below), the edge bends and falls down, and I think there must be some physics law proving that somewhere inside the printer, the sheet lifts when the edge of the negative falls, and I wouldn't be surprised if it's just under the printer head where the negative lifts up, especially without the sharp, metal rollers scavaging their way through the negative fresh "emulsion", but at the same time, keeping it flat.

I think the 2200 was a better machine for negative printing. This one is much better for "straight" color prints, but for negatives it's too thin (ink wise).

Thank you, Ron, for suggesting other ways of doing it, but I'm half way through a project of nearly 200 prints, and I prefer to keep my way of calibrating things. The Cutie R system seems interesting, and I used to print through it with the old 2200 for matte, regular B&W prints. Nice software. Might give it a try someday for calibrating negatives if something bad happens in my workflow.

Regards,

jos?

JMF said:

Thank you, Ron, for suggesting other ways of doing it, but I'm half way through a project of nearly 200 prints, and I prefer to keep my way of calibrating things. The Cutie R system seems interesting, and I used to print through it with the old 2200 for matte, regular B&W prints. Nice software. Might give it a try someday for calibrating negatives if something bad happens in my workflow.

Regards,

jos

Click to expand...

Jose-- I understand not wanting to change horses when half way across the river. But, in my experience, overloading the pictorico with ink is a great way to get ugly grainy negatives. My observation is that there is a range of ink deposition in which the 2400 (or 3800) prints a very smooth fine grained image. Then, as the ink load increases, there is a range in which the individual dots start to run together and things become obviously grainy (even though ink will eventually dry without puddling). Above that range the pictorico comes out dripping and is clearly useless. Look carefully at your negs and compare graininess in areas with low versus high ink load.
I think the reason you currently prefer the older 2200 is that you just have not yet learned to use the 2400 correctly (sorry to be so blunt, but it is meant as a helpful statement).
Cheers, Ron Reeder

Ron, thank you for the info.

I don't mind you being blunt, I prefer it when people are that way.

I checked the negatives as you suggested, but it seems all right to me.
Actually I've been printing all weekend and I carefully check every print (did about 20 11x14 prints - same project but a wide range of subjects, including light skies, dark skies, smooth gradations, etc). I'm quite "picky" as to the quality of my prints, and I could not find any problems with them. The paper is Bergger COT 320 and besides paper texture, I could not see anything wrong with the image - not that paper texture is a bad thing!

Prints from the 2200 and the new ones from the R2400 blend well in the project, although I might want a bit more contrast in the future (other projects).

It seems like the R2400 consumes less ink than the 2200, even with a 30% plus load, but I'm not going to complain about that!

Jos?