A number of B&W inksets and printing workflows are discussed on my web pages.
There is no one system that will do all things for all people.
Thus, for fine art, museum work, and whenever very long term image stability is needed, the highest percentage carbon image on the finest cotton paper is what I recommend.
For photographers interested in printing with 100% carbon pigments using the well-tested and proven Eboni-6 inkset, see http://www.paulroark.com/BW-Info/Eboni-6.pdf. This inkset covers the Epson 1400, and similar printers. Eboni-6 and its variations will run in a number of printers from the WorkForce quads to 8-ink K3 printers.
Where high-end sepia-tone reproductions are needed, MIS glossy-compatible 100% carbon inks on the best satin or semi-gloss paper are what I use and recommend. See, for example, http://www.paulroark.com/BW-Info/4000-6K-Plus.pdf, where I have an Epson 4000 set up with a carbon-core inkset that is compatible with glossy paper. Note that this setup also prints 100% carbon images on Arches watercolor paper that have the same medium warm look of Eboni-6 on the 1400. See more on this latest effort, below.
I am increasingly using Arches watercolor paper for the high end of my fine art. It is likely that for images made with 100% carbon pigments (or close to it) the inkjet paper coatings become the weakest factor in maintaining the best image quality. Arches un-coated paper has been around for about 500 years. I don't expect any coated or laminated substrate to do as well. Arches watercolor paper is held in the highest esteem by the painters I routinely work with. This paper brings me the closest to the paradigm of carbon on cotton. They can even be washed if needed in the future. Carbon on Arches is not just another inkjet print.
My latest project is to develop the most flexible, carbon-core inkset that can print a wide range of image types, from high dynamic range neutral glossy prints to the highest quality "carbon on cotton" museum and collectible grade art.
This "6K Plus" inkset that I am currently profiling may be the most flexible B&W setup I've used. See http://www.paulroark.com/BW-Info/4000-6K-Plus.pdf. Note that I used an inkset like this in 2006 with very good success. So, the current project is, in part, simply updating that approach.
While the specific target of this re-visited approach is semi-gloss, neutral image-tone, wall display, the setup also gives me access to the broadest range of matte and glossy papers, from sepia to cold tone, and without any need for agitating carts beyond what is normal for wide format printers. With more carbon inks as the backbone of the image, prints are generally smoother than when only 3 neutral inks are used.
Advances in the molecular structure of dyes have made the best dyes quite lightfast. While not an archival, collectible medium like carbon on cotton, advanced dyes have been rated by Wilhelm Research at close to 100 years of display. When a protective spray is used, Epson Claria black only test prints are close to the same lightfastness as Epson UltraChrome color pigments.
The main visual weakness of this medium is that it can display color shifts when viewed under fluorescent lights. Particularly older ones with CRI's of less than 80 may result in an unacceptable green/cyan tone shift.
I have made profiles for the Epson 1400 and Claria inks, using QTR and have outlined my recommended approaches in a PDF at http://www.paulroark.com/BW-Info/1400-Claria-BW.pdf.
With an easily mixed "LK" added, a dedicated B&W inkset can be made with the these inks, and the Epson driver also becomes a viable way to print good B&W with the dyes. This dedicated B&W approach appears to be the best way for B&W photographers to get top quality output from these dyes with very easy mixing. See http://www.paulroark.com/BW-Info/1400-Claria-Noritsu-2K2LK.pdf.
Inkset List by Printer and Inkset Name
For a list of inksets I've made for various printers, click here. This list includes some inksets that are fairly new and that I would still recommend. It also
includes some legacy inksets that were made before we knew as much as we do now about ink longevity and
might not recommend today.
Contributions to the cause of the best B&W printing to all for the least amount of money are most appreciated.
Paul Roark
Solvang, CA, USA
www.PaulRoark.com