FSN+ Inkset
For the Epson 7500, 7000, 9500, &
9000
INFORMATION AND SETTINGS
(10-22-06)
[Caveat: As of 10-06, I stopped using this inkset and
stopped recommending this or any “blended” B&W inkset for use in large
format printers without this caveat.
I’ve found large format printers suffer from unacceptable tone shifts
with blended inksets when they are left unused for much more than a week. If one uses the printer regularly or uses an
auto-print software program such at MIS provides at http://www.inksupply.com/cobra.cfm#ap
then this is not a problem. Additionally,
tone shifts are not a serious problem with most desktop printers where the
cartridges are constantly agitated.
However, blended inksets that have inks composed of more than one type
of pigment mixed together have tended to have tone shifts between printing
sessions where such sessions are separated by more than a week. This does not appear to be ink separation in
the cart, but rather in the tubes that connect the carts to the heads. Because I do not use my 7500 continuously, I
found this problem too much of a nuisance to deal with. As such, I have moved to a non-blended
approach that uses just the standard black and gray inks, with LC and LM for
tone control. This non-blended approach
requires a rip and is very slightly less smooth, but it’s much more practical
for me. It also gives me full Lab a and b control within the neutral to carbon tone
range. For more information on what I
call the “4K+” approach I am now using in my 7500, see http://home1.gte.net/res09aij/4K+.pdf
]
The Blended FSN+ Inkset
This inkset is mostly a
modified MIS UT-FSN inkset optimized for neutral B&W printing on both
glossy and matte papers with the 7500 and other Epson large format printers of
that generation -- without having to change the black inks. This is not the same as the original UT inkset,
which will also run on these large format printers.
Note that I work on a
7500. However, my experience is that the
9500 prints the same. Also, I have found
that when I print with the 7000 driver, the curves-profiles I make print on the
7000 and 9000 just like they did on my 7500 with the 7000 driver.
The 7500-UT inkset can be
printed through the Epson driver when Photoshop RGB image adjustment curves are
used as profiles. The workflow is to
edit the image in grayscale, save the grayscale file, convert to Adobe RGB,
apply the appropriate printing curve, and print through the Epson driver, with
the settings outlined below. Curves that
I’ve made for a number of different papers can be downloaded from a different
page, the link for which is at the bottom on this Readme file. Of course, good third-party RIPs should also
work very well with this inkset.
Note that the 7500 and
the other large format printers of this generation, with their larger,
non-variable dots, may not be able to match the smoothness of the newest
printers. For example, with very close
inspection using +3 reading glasses I can detect a very fine grain in some test
strips. On other papers, however, I see
no dots even with a loupe. In actual
prints, particularly display-size prints, the digital artifacts are
insignificant, and prints from the 7500 look as good as any I’ve ever seen from
any other technology.
Ink Order
In the large format
printers I recommend an ink order that is different from other UT-FSN
approaches. Below is the ink order I’ve
found works very well. Note that what I
recommend changes over time as the papers I use change. As of August 2006, I think Crane Silver Rag
is a top contender, while I still find Premier Art 205 a bargain for archival
matte prints. The changes
to the R2 inkset for the neutral inks is due to the way these papers
print. The Crane paper in particular
tends to print on the greenish side with the previous mix. The R2 inkset adjusts for this, while still
keeping the best matte papers well within range.
Neutral (cool) toned carbon
inks:
Yellow position = Originally UT-FSN-Y.
Later I used a mix of 75% (50% R2-Neurtal
Light
(LC, LM, or Y – all the same)
Mixed with 50% base) + 25%
FS-Y.
This mix gives a more neutral tone than the
FSN.
Cyan position = Originally UT-FSN-C.
Later I use R2-Neutral Dark (C or M – both
the same).
Light Cyan position = Originally
this was a new medium-density
gray ink. It had a density half way between the C and Y
position inks, which
makes it darker than the old standard
FS-M-position inks.
This ink is now sold as the R2-Neutral-Light
ink.
See http://www.inksupply.com/utr2.cfm
Magenta position = Originally MIS Photo Black
(“PK”).
This ink in conjunction with the UT-FSN-C ink
provides a
dmax that is often
better than the PK by itself.
Later I used a mix of 90% PK (7600) + 10%
blue
(50% R800 Blue + 50% Cyan)
This gives a better dmax while still allowing
reasonable
warm tone
printing. (Don’t do if you want carbon
only print.)
Light Magenta position = MIS UT2-LM or UT7-LC.
This medium-density, warm ink can be used to
better
profile many papers
by counteract the tendency of some
rag papers to print
very cold in the shadows. It is a pure
carbon, warm ink.
This ink can also be used to print
medium-warm tones.
Black position = Eboni matte black.
These inks are available at
http://www.inksupply.com/ut2-1280.cfm.
Note that this ink can be
customized easily to achieve cooler or warmer prints by altering the mix with
same-density, readily-available inks from MIS that have different degrees of
coolness or warmness.
The Y-position ink can be
warmed by using UT-FS-Y medium warm ink.
There is, however, no colder ink that is readily available for this
position.
The C-position UT-FSN-C
is the same density as the medium warm UT-FS, as well as the pure carbon UT2-M
or UT7-C. Thus these inks can be use to
warm the inkset. On the other hand, the
UT2-C or UT-7 M cold tone inks can be mixed into the FSN-C to print cooler
images.
The LC-position ink basic
density formula is 60% UT-FSN-M + 40% EZ (Neutral &/or Warm). So, minor changes can be made with the EZ N/W
ratio.
Filling large format
cartridges is described at this site: http://www.inksupply.com/3000.cfm The cartridges and accessories needed to
fill them are at http://www.inksupply.com/epsoncarts_xx.cfm and http://www.inksupply.com/accessory.cfm
Settings
Color Settings – Edit, Color Settings
in Photoshop, leave at defaults in Picture Window. In Photoshop Color Settings I first set the
top space to Photoshop 5 Default spaces.
I then set the RGB working space to Adobe RGB (1998). Be sure no other profiles are embedded in the
file.
Print with Preview – I recommend if you are
using Photoshop CS2
That you use the “Print With Preview”
option. Be sure that in the
Color Management box, under Options, the “Color Handling”
line is set to “No Color
Management.”
Epson driver
Space – Adobe RGB (1998)
Print Space -- Same as Source
Print Quality – 1440; High Speed Not
checked.
Color Management – “No Color Adjustment,”
Gamma is1.8.
Media Type – 7500 & 9500: The setting will vary. See below.
7000 & 9000:
Photo Paper
Printing on Matte Papers
Matte papers, like the
glossy ones, need to have a Photoshop image adjustment curve applied to an RGB
version of the file to control the inks.
I have a preference for
smooth papers. As such, that is what is
listed below. There are many other
excellent papers on the market that should print very well with curves similar
to the ones I’ve made.
Media Type is, unless otherwise noted,
“Watercolor Paper - Radiant White” for the 7500 &
9500,
“Photo Paper” for the 7000 & 9000.
Print Quality
– Use 1440 with High Speed unchecked.
Curves - Profiles have been made for the following
papers:
Epson Enhanced Matte (“EEM”) – This paper is
excellent for non-archival uses. This
paper prints slightly cool with UT-FSN inks.
I have also made a medium warm 7500 curve for this paper. (Rag papers would make even better warm
prints because they tend to print warmer in the highlights. The EEM-MW curve would be a starting point
for making warm printing curves for other papers.)
PermaJet Alpha, Delta & Omega
– These papers from PermaJet differ in the amount of brighteners they have. Alpha contains no optical brighteners and has
a somewhat creamy paper hue. Delta has
brighteners and a paper base that is quite neutral. Omega is between these two. All have an excellent dmax – between EEM and
PhotoRag. All use the same Alpha curve.
These papers exhibit
little if any flaking. With their
relatively high dmax and lack of flaking, these may be the best smooth cotton
papers I’ve used. Unfortunately, in the
PremierArt Fine Art Hot Press – The convex side
of the 205 weight version prints smoother than the concave side. The heavier PremierArt Fine Art papers and
Epson UltraSmooth should print with
the same curve. These papers have no
optical brighteners and exhibit little or no flaking. They have the most neutral surface for a
non-OBA paper that I’ve seen. PA 205 is
a bargain for an archival, cotton paper.
Hahnemuhle PhotoRag and other Fine Art papers
– These curves were made on PhotoRag, but in the past PhotoRag curves have
worked well on the full range of Hahnemuhle fine art papers. PhotoRag has the best dmax and makes an
excellent print. However, its soft
coating tends to have some flaking and is very sensitive.
Printing on Glossy Papers
Glossy papers can be
printed with Eboni matte black installed because the curves used for printing the inks are
able to cut the Eboni out and generate the black with PK (in the M spot) and
FSN-C.
While the 7000 and 9000
print very well on glossy papers, the dmax with that driver is often not as
good as with the 7500 driver, at least when I print with the 7500 printer and
7000 driver. None-the-less, of the
papers listed below, the Kirkland Glossy and Ilford Pearl papers have excellent
blacks with the 7000 driver.
I often spray glossy
prints with a protective lacquer. Among
other things, spraying the finished glossy print with PremierArt Print Shield
increases the dmax significantly, eliminates the differential gloss, nearly
eliminates the “bronzing,” and makes the paper water proof so that it can be
cleaned with a damp paper towel. Thus, I
recommend this for most glossy papers.
Curves have been made for
the following papers. Media Type settings 7500 will vary. If not specified below and in the curve name,
it will be the same as the paper name.
For the 7000 use “Photo
Paper” for all papers.
Epson Premium Semimatte – For the 7500, use
Media Type “Glossy Paper Photo Weight.” Epson Premium Semimatte is rated by
Wilhelm at “>200” years in terms of storage life, is available in rolls in
the U.S, is reasonably priced, and, especially after being sprayed, has a very
good dmax on the 7500 and is relatively artifact-free. For these reasons, it is what I use on the
7500 for large display prints if I want a “glossy” paper, for example for
glazing-free display.
Epson Premium Semigloss – In some respects I
like Premium Semigloss better than Semimatte.
However, it is not available in rolls in the
Ilford Galerie Smooth Pearl – On the 7500,
use Premium Glossy Photo Paper Media Type.
This paper has an excellent dmax even without spraying and a reasonable
price. It is also available in a variety
of sizes. As such, it is an excellent
display paper. It does have some
bronzing, which is largely eliminated with spraying.
Typical of the vast
majority of gloss papers, this paper does not appear to be acid free. However, Wei To buffering spray appears to
de-acidify the paper and may give it a significantly longer dark storage life
where needed. (See http://www.weito.com/.) When applied to the back of the print it
soaks into the paper, where it is needed, but the polyethylene barrier protects
the surface and image from the carrier solvents and buffer.
Epson Premium Luster – On the 7500, this
prints with the Premium Semigloss curve.
Use Premium Semigloss Media Type setting also. For the 7000, there is a separate curve.
Epson Premium Glossy – While popular, Epson
Premium Glossy exhibits the most pronounced differential gloss and has some of
the worst bronzing of the papers listed.
Thus, I do not recommend it unless it is going to be sprayed to minimize
the artifacts. These comments also
apply to Ilford’s Glossy paper. The Costco Kirkland paper is significantly
better than these and similar, older glossy papers.
To download curves for printing the above papers, see
http://home1.gte.net/res09aij/7500-FSN-curves.htm.
General information index: for my index of
printing information, see http://home1.gte.net/res09aij/index.htm.
Happy
printing.
Paul
__________________________
PS: For an open forum
where I hang out, join the B&W Digital Print forum at http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/