varied kind and does include a salt or cyano now 'n then.
However, my printer is the Epson 7800 and I change the matte black and photo black inks when either
my mood necessitates a semi-gloss paper or I wish to go matte.
I've now printed over 2000 prints in the 16x20 to 24x36 size. Including b/w and color. In a number of
instances with papers such the Moab line, I found it better to write my own profiles . . . the same with
the Crane Museo II matte paper. I've been fortunate to use Joseph Holmes absolutely brilliant profile for
the Crane Silver Rag. Sometimes the Atkinson set for Epson papers is used as well.
During this period of now nearly 3 years not one single thing has gone wrong with the printer and I've
only done one power cleaning. Day by day it performs perfectly. This summer, from June to September
I went traveling all over the place to see all the European art fairs and walk to the edge of Mt. Everest.
Coming home the printer was turned on and a normal head clean done. Voila! It has been churning out
perfect prints since then.
My whole system is calibrated and color managed using the Monaco X-Rite hard and softwares as well
as the ColorVision hard and software.
What can I say?
In visiting a friend, who is a mind-boggling fantabulous individual with tech stuff, he is using the Canon
printers with 12 colors. His hardware is the big 48 or larger printer and he says it creates a larger gamut
and prints about two to three times quicker than the Epson. His technical knowledge is superb and I'm
going over there to see if I can a rug w/him while also testing that Canon VS my Epson.
Below are links to sites I speak of above.
My work, done with the Epson is imagery from 1968:
Don Farnsworth runs Magnolia Editions and the site you will link in to will 1st exhibit a tapestry. Ten bucks
says it'll blow your minds collectively because try to tell me it isn't a platinum print upon first look at the
Chuck Close image. Don is the buy who likes the Canon.