MIS EZ ULTRA-TONE B&W INKS for the Epson
C86 and C88 Printers
Information and Settings
By
(10-10-06)
The Epson C86 and C88
appear to print in a very similar matter.
As such, I’ve combined my older C86 information sheet with the C88
information.
The C86 and C88 with the
EZ carbon pigment inksets can make B&W prints that are as lightfast and
archival as the most expensive systems available for home digital printing.
The C88 with the new
Crane Silver Rag paper makes, in my opinion, a B&W print that looks not
only as good as any inkjet print, but also as good as any wet process silver
print.
The EZ inksets can print
on matte or glossy papers as long as the appropriate black ink is
installed. MIS Eboni matte black is for
matte papers, and MIS Photo black (“PK”) or Neutral Photo black (“PKN”) are for
glossy paper. The PKN has a higher dmax
but may not be quite as lightfast. The
standard DuraBrite black ink can be used with the EZ inkset, but it prints with
less density on matte paper than MIS Eboni, and it is less lightfast than the
MIS Eboni or MIS Photo black. A better
alternative is the Epson UC Photo Black.
It can be purchased in large format cartridges and loaded into MIS empty
carts. (A 2400 PK cart will not fit
into the C88.)
The MIS EZ inksets come
in 2 tones: EZ - N (neutral [cool]) and
EZ-Warm (pure carbon). Both are 100% pigment (no dyes), black and white inksets for the
Epson C84 – C88 (as well as C82 but in a different cartridge). They can be purchased from MIS
Associates. See the MIS website at: http://www.inksupply.com/bw/utez
The tones of the images
printed with the C86 can be varied from neutral/cool to warm by installing
different combinations of the EZ-N and EZ-W cartridges. Different papers also print with different
tones. Note that the inks in the various
“color” positions are all the same density.
The chips, however, are specific to the ink position. So if you want to warm up a “neutral” set
slightly, try putting an EZ-Warm yellow cart in the yellow position. That is the combination I usually use. Not only does it make the inkset more neutral
on the paper I like, but it also makes the inkset a variable-tone inkset that I
can profile with curves and ICCs to obtain very even tone and density
distributions.
Grayscale images are
printed using the Epson driver, where the profiling needed to match the
printing characteristics to the paper can be accomplished using the Epson
driver adjustments, or the curves and ICCs mentioned above. Any application that can handle images can
print high quality B&W images with this system using the sliders to control
the inks.
Settings
In Photoshop, I use these Color
Settings (click on Edit, then “Color Settings”): In the ”Working spaces” box, I set the RGB
line to “Adobe RGB (1998)” and the Gray box to “Gray Gamma 2.2.” (I use Windows.) When printing, see that no other profiles are
embedded in the file.
In Picture Window, the
default spaces seem to work very well.
For all applications, be sure
the driver is one loaded from an Epson disk or downloaded form the Epson
webpage. The drivers that are built into
Windows are not complete.
Epson Driver Properties
There are alternative
workflows for the C88. For glossy
papers, I now recommend an ICC approach that can, among other things, optimize
the dmax. See http://home1.gte.net/res09aij/C88_EZ_Slider_settings.pdf For more information
on making ICCs, see http://home1.gte.net/res09aij/Making_B-W_ICCs.htm
.
For matte papers, or
where just the sliders are to be used, see below.
If printing with
Photoshop CS2, use “Print with Preview.” In the box that appears below the image,
there is a box that shows either “Color Management” or “Output.” Select “Color Management” and the following
settings should appear if one is printing a grayscale file:
Print
– Profile: Gray Gamma 2.2.
Options
– Let Printer Determine Colors or No Color Management.
When one hits the “Print”
button a “Print” box appears. Go to
“Properties” and “Advanced.” In that
box, these are the settings I use:
Print Quality – Best Photo; High Speed
can usually be checked.
Color Management – Color Controls, gamma
1.8 for glossy papers and Epson Enhanced Matte, gamma 2.2 for most acid-free
matte papers.
Media Type – “Matte Paper – Heavyweight” for
matte papers and “Glossy Photo Paper” for glossy papers, unless stated
otherwise, below.
The sliders and gamma
setting in this box allow substantial control of how the print will look. These are used to “profile” different papers
to look the way you’d like. I have
settings below that I’ve found work for me.
When you get settings that give the results you like, note that you can
save those.
Additionally, for a few
papers and the C86, I have made simple grayscale Photoshop curves that can also
be loaded as Transfer Functions and can profile the printer more
accurately. The curves can be downloaded
from http://home1.gte.net/res09aij/C86-curves.html
. The names of these
curves will usually state the slider and gamma setting to be used. Grayscale curves are relatively easy for
users to modify as needed. See my
tutorial at http://home1.gte.net/res09aij/EZ_Adjustment_Curves.htm.
Many different papers
will print well with this printer and inkset.
I have just listed, below, some of the papers that I use. I recommend starting with these papers and
settings to learn what the printer is capable of and to hold down the
variables.
To test new or different
paper papers, I recommend the use of 21-step test files such as I have on my web
site. (See the index at http://home1.gte.net/res09aij/index.htm.) Printing these test files will show whether
the grayscale ramp is reasonably linear and help in determining the best slider
settings for new papers.
I usually print files at
360 dpi. If you find microbanding in the
output and are sending the printer a different dpi file, try re-sampling the
file in Photoshop to 360 dpi before printing it.
Printing on Matte Papers
For matte papers, have
Eboni matte black ink installed for the best dmax (darkest black) and
longevity. I tend to use neutral ink in
the cyan and magenta positions, and warm ink in the
yellow position. Many of the acid-free
papers in particular have shadows that are too cool otherwise.
The recommended settings,
below, are starting points. Trying
different adjustments might result in a more accurate monitor-to-print
match. In general, Gamma 2,2 prints darker than Gamma 1.8. The Brightness and Contrast sliders are self explanatory,
but too aggressive use of these sliders will result in loss of shadow
separation. If the 90% - 95% contrast is
too low, consider moving the Yellow to -25 and Cyan to +25. Where sliders don’t result in an even enough
ramp, a curve is the next step.
While the EZ inks on EEM
with the 2.2 gamma setting print very much like the OEM DuraBrite inks at 1.8 gamma, both have rather blocked or compressed shadows with
these settings. I prefer more open
shadows and a longer tonal scale. The
settings below reflect this preference for more open shadows. However, if one’s monitor also compresses the
shadow tones, one might opt for leaving them that way on the print.
All of the papers below
are acid-free and archival except for Epson Enhanced Matte. Many papers other than those listed may work
very well. Media Type is “Matte paper –
Heavyweight” for all matte papers.
The alternative of “Plain paper” tends to band on some printers.
Epson Enhanced Matte – Gamma 2.2, Sliders: Contrast -10 (was
Gamma 1.8. Sliders: Contrast -15). EEM has a paper life of just over 100 years
in good storage conditions according to the Wilhelm Research accelerated aging
tests. In high humidity or temperature,
it might yellow much more quickly. While
this paper is not archival, it makes an excellent image and is a good value for
non-archival printing. To get it to
print just like my 7600 and other printers that I use curves for, I also have a
curve for the C86. It is on the download
page for the C86, located here http://home1.gte.net/res09aij/C86-curves.html.
Premier Art Premier (aka “Dual”) Matte – This
is the best bargain in acid free papers.
It prints slightly light with all sliders at 0 and gamma 1.8. With Gamma 2.2 it is darker and has shadow
tones that are more compressed. The
paper is coated on both sides, but the convex side is slightly smoother and
what I recommend. The paper is a bright
paper (lots of OBAs) that prints cool and has among the best blacks of any
matte paper, with a dmax of 1.7. With
acid free paper this inexpensive, the use of acidic paper even for snapshots is
a questionable choice. See http://www.photowarehouse.biz/premier.html,
at the bottom of the paper list.
PermaJet Alpha – Gamma 2.2. Sliders: Contrast -10. This paper contains no optical brighteners
and has a very good dmax. Related papers
Omega and Delta print similarly and have some brighteners, with Delta being the
brightest, but still neutral. These papers exhibit little if any flaking. In the
Innova papers – Gamma 2.2.
Sliders: Contrast -10. Innova has
a range of papers, but of most interest is “Ultra Smooth FibaPrint”
that is an excellent value in acid-free paper, with a nice 280 gsm weight. All have a very good dmax and appear to be
relatively free from flaking once dry.
Shades of Paper, at http://www.shadesofpaper.com/innova.htm,
has a sample pack that is a good way to see what you like best.
Hahnemuhle PhotoRag & PermaJet Portrait Classic
– Gamma 2.2. Sliders: Contrast -10. This
paper was the first to have an excellent 1.7 dmax, and prints very well, but
with slightly darker shadows. It tends
to have some flaking (blow off the surface before printing) and a sensitive
surface.
PremierArt Fine Art Hot Press 205
(“PA 205”) – Gamma 2.2. There are
several options here. I originally
recommended Sliders: Y -25, C +25.
However, I now print with EZ-N in the Cyan and Magenta spots, and
EZ-Warm in the Yellow position. This
produces more even tones that better match the paper tone. I use a Transfer Function that is on my C86
download page at http://home1.gte.net/res09aij/C86-curves.html. I use a combination of the transfer function
in addition to Contrast -10. The
convex side of the 205 weight version prints smoother than the concave
side. The PremierArt 205 paper is a good
value among archival cotton papers. The
heavier PremierArt Fine Art papers and Epson UltraSmooth typically use the same settings. These papers have no optical brighteners, yet
are still quite bright. They exhibit
little or no flaking and may be the most archival and durable papers I’ve
tested. MIS now carriers PremierArt 205
paper, as do a number of other internet outlets.
PremierArt Scrapbook – Gamma
2.2. This paper is sometimes sold as bargain prices. However, it does not print particularly well
with sliders. As such, I have made a
simple grayscale curve that can be applied to the file, directly or as an
adjustment layer. Leave the Sliders in
the neutral position. The curve is on
the download page for the C86, located here http://home1.gte.net/res09aij/C86-curves.html.
Printing on Gloss Papers with Photo Black Installed
When printing on glossy
paper MIS Photo Black (“PK”) ink is recommended. Even better is the new neutral version of
I spray many of my best
glossy-paper prints with PremierArt Print Shield after they are dry. This largely eliminates the “bronzing”
(differential color reflections) that afflicts most glossy papers. It also increases the dmax
significantly. Additionally, the spray
makes the surface of the print waterproof.
Once sprayed, the print surface is tough enough to be cleaned with a
damp paper towel if need be. I
sometimes display sprayed glossy (including semi-gloss and semi-matte) papers
with no glass, so that the full dynamic range of the image, including
particularly the depth of the deep blacks, can be seen without the compromising
effects of glass reflections.
The settings for the
following papers are recommended starting points. You may be able to get a better match to the
monitor with other adjustments.
What is packaged in the
box may differ. Look for the country of
origin label on the back of the box. As
I find out about different batches, I’ll post the information.
This paper is similar to
Epson Premium Glossy Photo paper, but better in many respects. It has a bit less gloss and very little
bronzing, which is rare for a glossy paper.
I recommend slider settings of Contrast
-14, Brightness +10. The paper base
appears to be buffered, making this a likely long-lived paper. Epson Premium Glossy paper has been rated by
Wilhelm as having a life of 300 years. A
top notch glossy paper for $0.15 per letter-size sheet is a major value. Kirkland Signature Glossy Photo Paper can be
ordered from Costco at
<http://www.costco.com/Common/Category.aspx?whse=BC&topnav=&cat=1200&hierPath=354*&Browse>
even by non-members. This is the only glossy paper I use for
letter size prints. I use Epson Premium
Semimatte for large display prints.
Ilford Galerie Smooth
Typical of the vast
majority of gloss papers, this paper does not appear to be acid free. Also, unless sprayed, the paper exhibits
considerable bronzing.
Epson Glossy Photo Paper – Media Type is “Glossy
Photo Paper.” Sliders: Contrast
-13. This reasonably-priced paper has
the fewest digital artifacts like bronzing – in fact, it is virtually free of
them. Its thinner weight causes some
waviness in areas with lots of dark tones.
This paper is not archival and has a lower dmax than the above
papers.
Epson Premium Glossy, Semigloss & Luster
– Media Type is “Glossy Photo Paper.”
Sliders: Contrast -15, Brightness +1.
For Premium Semimatte, set
Brightness to -4. The Epson Premium
Glossy, Semigloss, Luster and Semimatte papers are rated by Wilhelm at
“>200” years in terms of storage life.
On plain, solid black areas pizza wheel marks may show on the Glossy
paper, but probably will not show on the others.
Spraying glossy prints with PremierArt Print Shield increases the
dmax, nearly eliminates the “bronzing,” and makes the paper water proof so that
it can be cleaned with a damp paper towel.
Easy-Refill Cartridges and Minimizing Costs
To hold ink costs to a
minimum, I highly recommend the use of MIS easy-refill cartridges (like the one
pictured here http://www.inksupply.com/c84refill.cfm),
with MIS bulk ink (See http://www.inksupply.com/utez.cfm)
and a chip resetter. (See http://www.inksupply.com/qb7.cfm .)
Note that for the C86/84
carts fit the resetter better if the resetter guide is modified as shown in the
following photo on my webpage: http://home1.gte.net/res09aij/C86_Resetter_Guide.jpg.
This is also accessible from my printing
information index at http://home1.gte.net/res09aij/index.htm.
To fill or re-fill these
cartridges several accessories are needed.
All are inexpensive and available from MIS at http://www.inksupply.com/accessory.cfm. I use the 10 cc “MIS Syringe” with a 4 inch
“MIS-Needle 4” to pull ink from the bulk bottle and inject it into the top hole
of the cart. The carts start printing
better if they are primed first. To do
this, I use a bottom fill adapter that I’ve cut down to 7 mm (MIS appears to
have one that they have modified and call the “MIS-FADP” for the 4000, etc.) on
a syringe. I break the outlet seal and
pull a little ink through the bottom outlet, which tends to have an air bubble
above it if the cart is initially filled from the top. I turn the cart upside down to be sure the
air bubble is at the outlet and is pulled out by the syringe. This usually results in a good nozzle check
immediately when the carts are installed.
Enjoy easy, cheap, &
great digital B&W 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/