photobiker

The successors are the x880 series. They feature 9 inks with dual PK/MK and more vivid magentas:

http://www.photographyblog.com/index.php/weblog/comments/epson_4880_epson_7880_and_epson_9880_large_format_printers/

 

They also announced a 64" printer:

http://www.photographyblog.com/index.php/weblog/comments/epson_11880_64_large_format_printer/

 

And the x450 series with 4-ink CMYK:

http://www.photographyblog.com/index.php/weblog/comments/epson_4450_epson_7450_and_epson_9450_large_format_printers/

David,

 

I'm not familiar with your process but I doubt a photocopier will give you lots of nuances in levels of gray. The main two reasons for me to experiment with Hi-Gloss White-Film were:

 

(1) I was unable to obtain true blacks on OHP Transparencies with the Epson 2400. Apparently the K3 inks are not fully compatible with transparencies (see the description of the problem I had at http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00Huo3)

 

(2) Other people, using different processes than mine, had described beautiful results with the White Film.

 

I did a few more tests after posting my message but finally decided to go with the service bureau recommended by Dan Burkholder on his web site (http://www.danburkholder.com/Pages/main_pages/book_info_main_page1.htm) and I received excellent negatives from them on transparencies.

 

I kept my small stock of White Film for regular prints. In B&W, it has has superb detail and nuances. In color, it's the closest you can find to Cibachrome.

 

In the end, I think you'd achieve the best results printing the transparencies on an inkjet printer rather than using a copier machine - unless you have a printer that uses standard UltraChrome inks (note: the UltraChrome "High-Gloss" inks from the R800 are ok) in which case a service bureau might be a solution for you.

 

Pierre

I'm trying to print digital negatives but I can't get the Epson R2400 printer to

work correctly with transparencies. The ink seems to not adhere smoothly to the

surface. When I hold the film against the light, the ink appears all smudged,

blotchy and uneven (see picture below).

 

Secondly, I am unable to achieve a true black. When I compare the negatives I

obtain on the Epson 2400 with those from my previous printers, even the darkest

areas appear lighter than what I used to have with other printers.

 

- I tried three brands of transparencies: Epson Ink-Jet transparencies,

Pictorico OHP transparencies, and my good old Hewlett-Packard transparencies.

 

- I only use genuine Epson K3 inks, and the Photo-Black cartridge was installed

for transparency work (I keep the Matte-Black cartridge for b/w work on fine-art

paper).

 

- I tried different printer settings, always with the same results (Best Photo /

PhotoRPM, Semi-Gloss / Premium Glossy).

 

I noticed that in the Macintosh Print Dialog for the Epson 2400, under "Media

Type", all kinds of medias are listed, but not Transparencies. Is there an

incompatibility between this printer or the K3 inks and transparencies?

 

Thanks,

Pierre<div></div>

I confirm: the Pictorico Hi-Gloss White Film with an Epson 2400 is the closest you can find to Cibachrome. Super glossy, deep and rich, but without the mirror-like effect of premium photo papers.

Upon recommendations I found in the forums here and on Dan Burkholder's web

site, I tried both Pictorico OHP transparencies and Pictorico Hi-Gloss White

Film to print digital negatives that I'm using on Kentmere liquid emulsion over

sheets of paper. The negatives are printed on an Epson 2400 with Photo Ink.

 

The OHP works fine with a 20 seconds exposure under the enlarger. The White Film

however seems to completely block the light. I exposed my sheets up to 4 minutes

(with the printed side of the negative facing down onto the emulsion) and I got,

at most, some very faint gray shapes - even with the maximum available light

from the enlarger.

 

What could be wrong? The sheets themselves are guaranteed to be good (I exposed

a couple half with OHP and half with White Film, and the OHP side was fine).

 

I would prefer to use the White Film if that's possible because it seems easier

to control and handle than a transparency.

 

Many thanks - as always, Pierre

Upon recommendations I found in the forums here and on Dan Burkholder's web

site, I tried both Pictorico OHP transparencies and Pictorico High Gloss White

Film to print digital negatives that I'm using on Kentmere liquid emulsion over

paper.

 

The OHP works fine with a 20 seconds exposure under the enlarger. The White Film

however seems to completely block the light. I exposed my sheets up to 4 minutes

(with the printed side of the negative facing down onto the emulsion) and I got,

at most, some very faint gray shapes - even with the maximum available light

from the enlarger.

 

What could be wrong? The paper sheets themselves are guaranteed to be good (I

exposed a couple half with OHP and half with White Film, and the OHP side was fine).

 

The negatives are printed on an Epson 2400 with Photo Ink. I would prefer to use

the White Film if that's possible because it seems easier to control and handle

than a transparency.

 

Many thanks - as always,

Pierre

Garry, I believe you are mistaken when you write that I can certainly get that kind of result with just one speedlight. The picture actually took two strobes. If you look at the larger version in my portfolio, you might see why (<a href="http://www.photo.net/photo/4473301">click here</a>). The other picture that I posted above with the two girls also is clearly not achievable with just one light source: it required three (<a href="http://www.photo.net/photo/4473303">click here</a>)<br><br>

 

I think it is a common mistake amongst photographers to dismiss other people's work as trivial, and this why I am looking for examples of work that have actually been made using the technique I described. I cannot take seriously an answer that says "yeah, you certainly can get that with a single flash-head" while 2 or 3 are necessary.<br><br>

 

So... if there anybody with a hands-on experience using speedlights instead of strobes for nice studio work?

The constraints for me are quality of the results and space, more than time or money. My girlfriend and I have been traveling half-way around the world on motorcycles (<a href="http://www.photobiker.com">Photobiker.com</a>), and we are considering packing in our suitcases a set of SB800s and a couple of umbrellas to take studio-like pictures of local people during the rest of the trip.<br><br>

 

If the SB800 only allows to take the kind of pictures people expect at a wedding for instance (fully lit - even though nice and smooth, it's still fully lit), then it's not for us.<br><br>

 

On the other hand, if a nice setup with speedlights (3 flash-heads, umbrellas, light-meter, all manual mode) allows to do some more creative lighting with Rembrandt-like shadows, we'll consider the expense.<br><br>

 

I don't think my question was "academic" at all. It's for me very practical. <br>

Does anybody know of examples of studio-like creative lighting done with flash-heads?<div></div>

I have the same question as Steve but in the opposite direction. I recently had access to strobes and I love the results. Take a peek at these <a href="http://www.photo.net/photodb/folder?folder_id=603843">portraits</a>. The pictures were all taken with a small Dynalite kit: 2 or 3 strobes connected to a 500 watts powerpack.<br><br>

 

My question is: can I get the same results with 2 or 3 SB-800s? Does the speedlight have a power comparable to a 250w strobe, and is there any umbrella and support system that can be mounted with a flash-head?<div></div>

I'm thinking about buying an Epson 2400 to print digital negatives.

The negatives will be used on RC paper and Kentmere liquid emulsion

(never for Palladium prints).

 

- What is the best film for that type of contact prints: Pictorico OHP

(transparency film) or Pictorico PGHG (white film)?

 

- Which black ink is best on these films: PK or MK?

 

- Should I adjust the Ink Density when printing on film?

 

I read many threads related to this issue but some of the answers were

unclear or seemed to be contradictory.

 

Thanks! Pierre

I'm thinking about buying an Epson 2400 to print digital negatives.

The negatives will be used on RC paper and Kentmere liquid emulsion

(never for Palladium prints).

 

- What is the best film for that type of contact prints: Pictorico OHP

(transparency film) or Pictorico PGHG (white film)?

 

- Which black ink is best on these films: PK or MK?

 

- Should I adjust the Ink Density when printing on film?

 

I read many threads related to this issue but some of the answers were

unclear or seemed to be contradictory.

 

Thanks!

Pierre

My Nikon CP 5000 stopped working after 15 months. The symptoms are:

- It only takes completely black pictures.

- The flash is very very low.

All the rest works correctly. The battery has been checked. It

displays the pictures from the CompacFlash. The settings menus work,

etc...

 

I shipped the camera to Nikon France for repairs and they ask me 506

euros (arouns $550) to fix it!!! The details read (translated from

French):

- replacement of the main circuit

- replacement of the shutter

- cleaning and tunings

- labor

I find this price absolutely outrageous! It's almost the value of the

camera.

 

Do you have similar experience with repairs on digital cameras from

Nikon? Is it cheaper to have it fixed in the US?

 

Thanks,

Pierre Saslawsky

http://www.photobiker.com