Darn, I even had checked the "Notify me when available" box at B&H...they probably had everybody lined up via their sales department. I will call in and put my order in in-advance. I know it isn't good practice to buy something when it first comes out so the initial bugs can be worked out but.....
With the $100 Epson rebate on the 1280 and the $30 B&H rebate...that gets the 1280 down under $400. Wonder if it might not be a good idea to pick up a 1280 now while I wait to see how the 2200 is going to work out and then I would have the 1280 for proofing and the 2200 for the final print?
If you need a proofing printer that would be a good strategy. Once I get my 2200 (supposed to arrive at the warehouse from Epson tomorrow) I will run my 1270 as a design proofing printer until it dies. Then I'll probably get a refurb 1270 since that's the last Epson model Adobe ported the Pressready rip for (a great Postscript RIP but discontinued by Adobe).
They have started to arrive here. I took down a problem print from my 1280 (blue printing as purple) and the 2200 printed it (along with some other test prints) just fine. Placed my deposit and bought a complete set of inks.
I guess I was one of the lucky ones to get an initial shipment out of B&H, I have been playing around with it since last Friday. I am very impressed with the accuracy of the profiles right off the bat. Exact match to my monitor using only ICM enabled in the Epson driver. (My monitor is calibrated using a Colorvision Spyder.)
I used the Photodisk test target to compare to my 1270 printer using Colorlife and the Epson profile for it. I actually think the 2200 had better results on Premium Lustre paper than my 1270 on Colorlife. Some of the small details were brought out with the 2200 that had blocked up a bit on the 1270. (Not that the 1270 print was anything short of amazing!)
Archival matte prints look very good, as well as those on Semigloss. The only issue I am digging into now is a bit of bronzing that takes place on the Lustre and Semigloss in some highlight areas.
Thanks for the update and please keep the information coming. I received B&H's noticed for their second lot but before I had completed the checkout they had sold out to include all but 3 of the replacement ink cartridges. Perhaps waiting a short while is smart in any event. The 1280 is $469 at B&H and then there is a $100 rebate from Epson and $30 B&H gift certificate making it a $339 price..maybe I should start with that and see if the 2200 experiences any of the 2000 early on issues.
Making progress here... unboxed it, cabled it, loaded drivers and spit out some really ghastly colored prints.
that's the bad news.
the good news ?
Geez, are they ever sharp!!!! much better than I expected.
I did a pair of prints from a fujipress 1600 negative of a dancer at a football game halftime and it's really sharp. (thank goodness for autofocus...)
Now to understand color spaces - and getting negative-scan-monitor-printer all lined up so print results are predictable/repeatable. Then - I guess optimizing sharpening parameters for the output print and buying some more consumables ? I only have 50 sheets to start with and thinking I'll run out of ink and that pretty soon...
This should not be. Using the top of the line at home printer should be a positive experience right out of the box. I'm keeping tabs on several web sites...very little info coming in on a printer that is flying off the shelves when it is in and what little is leaking out....mostly comments about "hoping" custom profiles will improve the print color quality. The deal on the 1280 looks better every day.
Oh no ! I left a bad impression of the printer when the issue ignorance is on my part.
I'd have had these issues with any printer - I know virtually nothing about scanner/monitor color profiles, monitor calibration etc.... my 3rd print was a LOT better. I think I'm a few away from having it all squared away.
I printed a static test file using ColorMatch RGB and it's AWESOME... (www.digitaldog.net)
My issues are my own workflow and understanding the right way to handle profiles ... I was totally blown away by the test file - just amazing results. The comment on materials - I plan to PRINT that many good prints as soon as I'm squared away with profiles and color space issues.
Well, I am still very happy with this printer. Have just run through my first light magenta cartridge, keeping a tally of prints as I go. Print quality is outstanding, very little change under different light sources.
The "bronzing" I am experiencing is apparently a characteristic of pigment inks, how they sit on top of the paper. It is most noticeable in prints that have a lot of white to near white tones where the printer seems to rely more on the whiteness of the paper for that area, laying down less ink. Example; http://www.grafphoto.com/bronzing.htm
On prints with medium to dark tones, I don't even notice it. Other users have recommended sprays if this effect is bothersome, but I am undecided if I want to go that route.
All my prints so far have been on Premium Lustre & Semi-gloss. I just got some Epson Fine Art Velvet I want to play with, and some Archival Matte prints when I switch blank ink carts.
>Mark, > >Which paper gives the best results so far? > >Jeff
I don't think I have printed enough to really decide which one I like best. Ultimately I think it is going to be a personal preference as far as the finish. The Premium Lustre is very, very nice, especially at 13x19 borderless!
I'm not much of a fan of luster finishes, so I like the Premium Glossy Photo Paper or a matte paper.
The Ultrachrome inks have a resin encapsulation that makes the image glossy where the ink coverage is heavier. On luster paper this ink gloss means there will be shinier areas and duller areas on the print depending on the ink coverage for your image.
The more satin the paper finish, the more this effect stands out. You can overlaminate the print to even out the surface gloss, but I don't know if there are any sprays that have been tested for compatibility with the new inks.
On glossy paper, the ink and paper gloss are similar, so the effect isn't a problem. On Heavyweight Matte paper, the gloss of the ink is neutralized as the ink penetrates the matte surface.
I bought a matte black ink cartridge to try on matte and watercolor paper, but I haven't rund prints yet.
I like glossy for some prints as well, except that I have read that the 2200 isn't "compatible" with Premium Glossy paper (at least according to Epson). I know some folks have run Glossy paper through with good results, but nothing is published on longevity for this combo.
I printed some test photos on a 2200 using Premium Glossy in the store (ordered mine after seeing the results) and Epson included a Premium Glossy ICM file.
The salesman, who is *VERY* knowledgeable and had 20 or so 11 x 17 2200 prints on various papers (each marked with the ICM file used), said his favorite paper was Luster. Comparing my 2200 test prints to the same photos printed with a 1280, the 2200 colors are more accurate, but the 1280 results are glossier when using Premium Glossy.
PGPP is listed in the driver and comes with the profile set (you have to get the separate ICM files from a Mac Driver if you want to use them instead of Printer Color Management, they don't come separately for Windows).
Luster prints very well, I just don't happen to like the surface no matter what the printing technology. The satin suface picks up specular highlights under many viewing angles and it always tends to desaturate and soften the look of an image. I'd rather go with matte or gloss, but that's a personal preference, not based on what the printer likes.
The accuracy of the 2200 varies a lot by the image. I have one panorama that I've been trying to tweak into the right look using the new driver controls and the old manual color controls. I know it can be done because I had a very accurate print run of this image on the same paper via the 7600 a month ago, but I suspect a custom profile will be required. The 2200 can generate blues that aren't display-able via Photoshop and Adobe 1998. The blue range for skies offers a lot cleaner blue range, but seeing it prior to printing will be a problem.
>The accuracy of the 2200 varies a lot by the image.
This has been my biggest bug-bear with the 2000P: it's hard to get consistently accurate results without a lot of fiddling about making small test prints before committing myself to doing anything really large. I'd say it's comparatively rare for me to have to have a photo that looks good on-screen come out accurately first try; by contrast my 750 usually produces good results straight off. I was hoping this issue would be fixed by the wider gamut of the new inks.
What sort of success rate are you getting - i.e. prints that are true to the original - and in what sort of way are they incorect?
Don't worry. The results are very close on most images. I'm dealing with the outliers and even they are very close without tweaking. I've been looking at Michael Reichmann's, Uwe Steinmueller's and Alan Briot's reports of the 9600/7600 and 2200 and it sounds like Uwe's profiles might do the trick for me.
Oranges and yellows tend to come out a little weak, but some blues can come out very punchy - perhaps biased by the Epson profiles. I think you'll find Ultrachrome a lot closer to the screen image for most images than your 2000P. Part of what I think I'm seeing is colors that the inks can produce via the wide ink gamut that the monitor can't display.
I know he'll end up with essentially identical profiles for a given printer/paper/ink combo, but I guess that printing the target image and sending it to him satifies the Gretag-Macbeth licensing issue. I'll probably get a profile done for gloss, luster and archival matte papers during before the price goes up...
From all the discussion concerning printer profiles needed for the Epson 2200 in order to achieve expected results (on this forum and several others) and the amount of "tweeking" needed per photo, would you recommend an intermediate photo hobbist such as myself go for the Epson 1280 in lieu of the 2200.
I am trying to develop/improve skills across several areas (always working on my photo skills)and trying to learn photoshop. Would it be less frustrating to go for the proven 1280, expecially since it now comes with and $100 rebate and a $30 gift certificate from B&H. That pretty much puts the cost of the 1280 down to half the price of the 2200 (and I am trying to save for a F5 ...the lack of mirror lock up on the F100 is starting to bother me on my micro and long focal length shots at low shutter speeds)
Always appreciate your thoughts and those of others here.
I have the 1280 and have ordered the 2200 because the 2200 needs a lot less handholding in order to get excellent results. IOW, the Epson supplied ICM files work much better than their 1280 equivalents.
The 1280 is a great printer, but if you are really picky, I think the 2200 will be worth the extra $$$.
Having said that, if you want to buy a used 1280 with two brand new never opened ink cartridges, contact me ASAP before I post it in eBay.
I'm going to hang tight for a bit and continue to watch the reviews and forum threads before I decide on the 1280 or 2200. Will be interested in your initial comments/experience when you get your 2200 and have a chance to work with it a bit.
I can't get over how much difference Uwe's EyeOne profiles made, though. As Alan Briot's report says, the colour balance achieved by the custom profiles appears much more pleasing than the Epson defaults.
Yes, indeed. I will try using my Monaco EZColor 2 software to do a scanner-as-photometer profile and see what I get. I haven't been too impressed with profiles I've made this way in the past, so Uwe's profiles would be a bargain compared to a $5000 spectrophotometer and high-end profile generating software.
Received the printer yesterday. Installed easily enough and with some help from BJ (he sent a link to useful setup/print data) I was able to print a few pictures that turned out OK but not great. I'll continue to read and tweek and pass on items that helped me get started. Right now it might be of benefit to calibrate my monitor...I'll start a separate thread for that. Jeff Jwake@nikonians.org
It has been almost two week since I received my Epson 2200 and with help from BJ and others here and some instructions and pointers to resources from Matt at another forum of nature/photo types, I am happy to say I am loving my 2200 now.
My scanner is configured correctly, my monitor is calibrated to a tee and the profiles that come as a seperate install item on the Epson CD are providing wonderful prints out of the 2200. I am still in the learning curve on color management but the light is coming on and thank goodness I ordered extra ink carts with my last B&H order.
My tip is to start learning all this stuff in your twenties when the photo bug bites you and your brain is more capable of multi-tasking and absorbing all this data ou need to know! ...not wait until you have taken a different path than your heart tells you to take and spend 25+ years going down that different path before you wake up one day and decide to jump feet first in the water! I am having a blast though ...good to feel real passion again!
Here is some info from Matt H over on NPN who is a patient, knowledgeable person like yourself and willing to help old novices like me find a path of success in this digital tech age. After I calibrated my monitor and turned off the color management in my scanner this is what gave me my first acceptable results in workflow...
From Matt Hagadorn.. "In Photoshop, select File > Print with Preview (Ctrl-P). - Click Show More Options at the bottom. Select Color Management from the drop-box. - Under Source Space, select Document. It should show something like Adobe RGB or sRGB. - Under Print Space, click the Profile drop-box and a bunch of "SP2200" profiles should be listed. Select the one that matches your paper and type of black ink. Profiles that end in _PK are for Photo Black. Profiles that end in _MK are for Matte Black. - Set the Intent to Relative Colorimetric and check the 'Use Black Point Compensation' box - Click Print
That takes care of Photoshop. Now you need to set the printer driver to the right settings:
- Select the Epson 2200 as your printer, then click Properties - On the 2200 driver's Main tab, select the media type that matches your paper - Set Mode to Custom Settings - Click Advanced - Set Print Quality to 1440dpi - Under Color Management, click No Color Adjustment - Click OK - Click OK - Click OK to print
That should do it. If that doesn't produce a good print, something is wrong somewhere else in your workflow.
If the individual SP2200 paper profiles aren't listed in Photoshop' Print With Preview dialog, make sure you installed the Epson PIM plug-in for Photoshop from the 2200 driver CD. You don't actually need the plug-in, but that installs the paper profiles"
That last paragraph talks about going back to your Epson CD, installing the optional software selection for Epson PIN plug-in...even if you don't have a digital camera cause the plug-in has the paper profiles for all the Epson papers.
Thanks again for all your help BJ ....sure there will be more questions I will ask!
"From Matt Hagadorn.. "In Photoshop, select File > Print with Preview (Ctrl-P). - Click Show More Options at the bottom. Select Color Management from the drop-box. - Under Source Space, select Document. It should show something like Adobe RGB or sRGB. - Under Print Space, click the Profile drop-box and a bunch of "SP2200" profiles should be listed. Select the one that matches your paper and type of black ink. Profiles that end in _PK are for Photo Black. Profiles that end in _MK are for Matte Black. - Set the Intent to Relative Colorimetric and check the 'Use Black Point Compensation' box - Click Print"
That's workflow "B" for me. The only time I use that workflow is when I want to use a custom print profile. Since the Epson printer driver will automatically use the same profile you'd specify here for a listed Epson paper (assuming you want to use the profile for, say, Premium Semigloss with Photo Black ink), just set the print space to "Printer Color Management". Then proceed to the setup of the Epson driver as you describe below. Using Printer Color Management saves you from making the same choices in two places. If you had a custom profile or one for a medium not listed in the Epson driver (like canvas), that's the time to use workflow "B".
"That takes care of Photoshop. Now you need to set the printer driver to the right settings:
- Select the Epson 2200 as your printer, then click Properties - On the 2200 driver's Main tab, select the media type that matches your paper - Set Mode to Custom Settings - Click Advanced - Set Print Quality to 1440dpi - Under Color Management, click No Color Adjustment - Click OK - Click OK - Click OK to print"
Also, uncheck "high speed" for higher quality output. I've also found that unlike with earlier Epsons, the 2880 setting does increase the apparent detail from sharp, high res image files. I now use the higher res for most of my prints.
When you've finished the custom settings setup process, click "Save" and save these settings with a name that includes a hint to the paper used. For example, I save the custom settings for Archival Matte using Matte Black with the name "Arch Matte MB". Then the next time you print, just click on the drop down arrow in the "Custom settings" window and you'll see your saved configuration file listed by name. Select the one you want and you're done with that part of the driver setup. Set the paper size and feed options and you're ready to print.
Ian Lyons describes these workflows with screen capture illustrations at his site:
I definitely uncheck the "high speed", and edge smoothing and select the 2880 dpi.
Thanks for the recommendation on the settings saves..have not done that yet but i was experimenting with different papers I bought and have samples of a few others (looking for a good paper source...B&H just "jammed" the paper I ordered from them in a small box and it was bent in several directions).
Good site locations. Do you think the Digital Dog site will be doing tutorials for PS 7?
Off to play with the printer and read through some more of the articles in digital darkroom.