Category Archives: Printing

Printing with an emphasis on the HP DesignJet dye printer

Epson ET-8550 printer – color matching and Quality

Epson ET8550, Printing

The non-custom ICC way.

For an index of all articles about the Epson ET8550 printer, click here.

Color matching:

In yesterday’s column which introduced my newly acquired Epson ET-8550 ink jet dye printer I mentioned the possibility of having a tailored ICC profile created for printing with my large remaining inventory of costly HP Premium Glossy paper.

Here I examine a way of close color matching using off-the-shelf profiles from paper manufacturers.

First I downloaded a selection of profiles from Red River and Moab, placing them in this directory on my Mac Pro:


The Finder path for these appears at the base of the image.

In addition to the Moab and Red River profile collections you can see that I have retained the old HP profiles in the interest of seeing which of this large selection works best with HP Premium Glossy paper in the Espob ET-8550.

The approach is to use the Lightroom Develop module with ‘Soft Proofing’ enabled to compare the hard copy print with what the (profiled) display – a Benq PD3200Q – shows.

Make a selection of print with several different profiles – I used ones with “glossy” in the name – and select the one which looks best to you. Then slice it in half and paste it to the display which is in Develop Soft Proofing mode, thus. The goal is to change profiles used by Lightroom until the displayed image matches the hard copy most closely. Here is the print at right, Scotch-taped to the Benq display:


Click here for a full screen display.

For my HP paper I determined that a Red River Paper profile named RR Polar Gloss Metallic Ep ET-8550′ was the best match, so that’s what I use in printing from Lightroom.


The Red River profile selected in the LR Print module.

Is it perfect? No, but it will more than do until I can procure a tailor made profile.

Quality:


For best quality color prints. Slow and worth it.

There are two discernible differences between choosing ‘Normal’ and ‘Best’. In Normal mode a 13″ x 19″ print is completed in under 3 minutes, using bi-directional printing. In ‘Best’ that takes 12 minutes of single direction printing – spray the ink droplets/return the printhead to the start position/repeat. Given that you can load half a dozen sheets of paper in the rear feeder and as LR/OS X can stack the jobs if more than one is sent to the printer, what’s your hurry?

And you do not want to be in a hurry because in Normal mode blotchy colors are clearly visible in areas of what should be smooth tone. In Best smooth tones are smooth. Easily better enough that the longer print time makes sense.

The Epson ET-8550 printer

Epson ET8550, Printing

Time to move on.

For an index of all articles about the Epson ET8550 printer, click here.


The Epson ET-8550 photo printer.

After many years using/loving/hating and repairing my HP DesignJet 90 wide carriage printer, it has finally died. The cause cannot be identified in the factory manual, parts are very hard to source, and I have just about used up my last set of print heads and ink cartridges. So the HP, sadly, has to be recycled. Needless to add, HP wants nothing to do with it nor is there a repair facility out there which is remotely interested. It served me well for 20 years and because HP’s support is worse than a broken crutch for a one legged man, gave rise to a whole series of technical articles on this blog. Yes, the DJ90 was a high maintenance beast but, oh! my, it made spectacular prints when it chose to and the HP inks on HP paper remain fade-free even in prints made two decades ago.

The replacement for the DJ, the Epson ET-8550, is limited to 13″ wide prints, compared with the 18″ for the HP, but is significant in one major respect. The ‘ET’ in the model designation stands for ‘Eco Tank’. Let me translate. Epson has migrated from the ‘rip off the customer on ink cartridges’ business model to the ‘rip off the customer on the printer’s price’ one. I paid $600 after a $200 Black Friday discount but it really should have been more like $400 for what you get. However, instead of crazy priced, low ink content cartridges, Epson has adopted a ‘refill from cheap ink bottles’ approach so no cartridges are involved and each of the 6 ink colors can be had in a 70ml bottle for under $20. Stated differently, ink costs are 90% lower than for the DesignJet or any other consumer quality printer be it from Epson, Canon or HP. Hence the ‘Eco’ in ‘Eco Tank’, saving our landfills from millions of empty ink cartridges, refilling them with hundreds of thousands of empty ink bottles. Please do yourself a favor and never use cheaper aftermarket inks. Save a few pennies and risk major repairs when your print heads clog or your client sues you because the print for which you charged him good money 12 months ago has started fading.

How about paper costs? When it was clear a while back that HP was abandoning the DesignJet dye printer in favor of pigment ink designs I bought up a bunch of their superb swellable dye paper at 10 cents on the dollar. The paper is specifically formulated to absorb ink dyes, and needs time to dry and stabilize after printing. It’s worth the wait as it is superb. It bears repeating that nothing surpasses illustration of a photographer’s skill as a well printed, matted and framed large glossy print. Here is roughly half of my inventory of that HP Premium Glossy printing paper:


Some 1,000 sheets of 13″ x 19″ all told.

With premium Epson paper running $2-3 a sheet in that size you can reckon that little lot is worth some $2,500, so I’m not about to chuck it out with the DesignJet. But where to find an ICC profile? The ICC paper profile is loaded into Lightroom or whatever printing software you use and confers the right colors matched to a specific paper when you hit the ‘Print’ button. Obviously, no one makes ICC profiles for obsolete HP paper used on a current Epson printer.

The Internet to the rescue. Looking at the site of a major paper supplier – Moab – I ran across a listing of ICC profile makers they recommend. If it’s good enough for a major paper manufacturer, it’s good enough for me. A quick check showed Freestyle to have the clearest instructions without broken links which seem to bedevil many of the other suppliers – remember, a profile is specific to a paper and to a printer:


Click the image.

While their Mac instructions are for OS 13 Ventura I checked and was told that my earlier OS X 10.13.6 High Sierra OS is just fine, and just to make sure that when their test pages are printed using Apple Preview to make sure color management is turned off. Their instructions how to use Preview are clear.

So when my Epson ET-8550 arrives later today from the good people at B&H the first task will be to run the downloaded routines from that site and send them the two resulting calibration prints from the new printer so that they can generate a profile specifically for HP Premium Glossy swellable dye paper, spending $100 to save $2,500 of paper stock. Now that’s what I call return on investment.

As a matter of interest, the Epson uses five dye inks for photo prints and one pigment ink for it’s other tasks, like printing letters and the like. It’s the first five we are concerned with. The printer is actually marketed as an ‘office’ printer and includes a scanner and multiple paper trays for letters and the like. The latter are of no interest to me.

As for results fron the new printer, I will follow up this piece with some details but do not expect the outpouring of technical articles occasioned by the poorly supported HP DesignJet all those years ago. First the Epson has been on the market some 2 years now so there is much material available. Second, I recommend the site of Keith Cooper named Northlight Images. It’s comprehensive, written by a technically skilled person and with a minimum of sales BS, not to mention a solid command of the Queen’s …. err, King’s …. English, probably because he is English, like me.

Cleaning HP DesignJet print heads

Printing

A blast from the past.

The HP DesignJet 30/90/130 printers (10″/18″/24″ maximum paper width, respectively) were as good as pro-amateur color printers were ever made. The three models, which date from 2006, use the same ink cartridges and print heads, six of each. The Vivera ink dyes used require special swellable HP paper which absorbs the dyes and is good for over 80 years of permanence.

I wrote extensively about the maintenance and care of these printers in a series of articles which you can find here. Suffice it to say that you will not find better blacks from any printer and even with glossy paper there is not so much as a hint of metamerism (bronzing). I have displayed prints for almost two decades in bright sun without a hint of fading.

When HP discontinued these printers I stocked up on the special paper at ten cents on the dollar and also bought a remaindered set of OEM print heads and ink cartridges. While I had all the prints I needed for home and exhibition display I knew that one day I would revisit making large prints so it made sense to lay in those supplies.

Well, the other day I decided that I wanted to make some new prints for framing, having become bored with what I had and knowing that some gems awaited printing in my catalog. But my HP DJ90 had seen no use in seven years and though I had kept it plugged in (and switched off) all those years, to enable the head warmers and the occasional automatic ink flush which HP’s engineers had cleverly built in, the display panel showed all sorts of weird symbols and no ink levels were to be seen. So I pulled all six print heads, cleaning the mating surface in the printer with a rag soaked in distilled water, and replaced them with the new OEM ones which I had kept in their sealed, foil wrapping. At the same time I replaced all the ink cartridges. After an extended period during which the printer primed the cartridges and supply lines (meaning they were filled with ink and air was purged) the printer fired up and worked perfectly! Joy.

Now the snag with these DesignJet models is that paper is no longer available, and ink and print heads, if found through web search can be very costly indeed. And as for spare parts they are largely unavailable so one day my printer will be so much landfill. Welcome to the disposable society. I had made a half-hearted attempt at cleaning clogged printheads in this piece which turned out to be so much time wasted. This time, rather than throwing the old heads away, I determined to do the job properly.

The print head comprises four parts:


Assembled head at left, dismantled, cleaned one at right.

In the above image these are:

  • The needle unit, top right
  • The cap with bellows – these act as an ink buffer
  • A rectangular gasket which seals the cap to the reservoir
  • The reservoir, bottom right

The design of the #84 (black) and the #85 (colors) heads is identical.

The print head is easily dismantled using a small, flat bladed screwdriver. First, put on some rubber gloves. Those dyes, once on your skin, are absorbed and hard to remove.

Then remove the needle unit, insert the blade of the screwdriver at the location shown in this image:


Removing the needle unit.

Carefully twist the screwdriver and the needle unit pops off.

Now it remains to remove the cap with its attached bellows.


Force application to separate the bladder unit from the reservoir.


How the cap with bellows assembly and reservoir are separated – side view.
Do this gently. Rotate too hard and too far and parts will break.

No tools are needed. Place your thumb at the location of the green arrow, the side of your forefinger at the location of the red arrow (on the underside of the protruding plastic, not at the side) and apply force in the direction shown by the curved blue arrow. The two will separate easily.

Being careful not to lose or damage the rectangular gasket which is between the bladder unit and the reservoir, flush all the parts with hot water from the tap, then soak them overnight to remove the last vestiges of ink. There is no need to use volatile solvents. Flush once more, air dry, then reassemble in the reverse order, being sure to place that rectangular gasket over the bellow assembly before snapping on the reservoir. The gasket nestles in a rectangular groove around the base of the bellows assembly. Be sure it is securely lodged in that groove, helping it along with a jeweler’s screwdriver if necessary, before snapping the reservoir and bellows assembly together. The needle unit is replaced last, snapping into place.

Your HP DJ print head is now ready to be put back in service. There is no need to pre-fill it with ink. The HP DesignJet will do that for you when first turned on with the new print head(s) installed. Give it 30 minutes or so to complete this process.

HP dye printing paper

Printing

Grab it while it lasts.

Click the image for the vendor’s site.

If placing a large order for the 13″ x 19″ paper, you can save a lot of money on shipping by going directly to eWholesaler.com’s website and ordering there. Looks like only 13″ x 19″ glossy is available but that is the premier surface for the highest quality prints.

The HP 30/90/130 DesignJet remains the finest large format color printer ever made for home use. The printer was discontinued by HP a few years back but as so many were sold, especially to print shops, parts, inks and paper have remained easily available.

Currently parts and inks remain easy to find (even HP USA still lists them as available) but paper is another matter. HP no longers lists any and it is getting very hard to find – most vendors listing it end up reporting their sites are wrong and that they are out of stock. The swellable special paper HP sold for these DesignJets is really the only one to use. Its surface absorbs the ink dyes, in contrast to modern papers and printers which use pigment inks which simply dry on the surface and do not have to be absorbed. The absorbent quality of the genuine HP paper is what gives the prints the DesignJets make their superior blacks, as well as conferring a total absence of ‘bronzing’ despite using just six ink cartridges. (Modern pigment ink printers add a special anti-bronzing finisher, further complicating matters in printer designs that are absolutely guaranteed to clog printheads, unless used constantly. The HP 30/90/130 printers use head warmers and as long as you leave the printer plugged in, albeit turned off, you will never suffer from clogged heads – I testify to that fact after 10 years of ownership. Sometimes I do not print for 6 months and a perfect print then emerges first time.)

Now and then remaindered lots of HP paper come to market and I have done my bit in procuring a lifetime supply of 13″ x 19″ and 18″ x 24″ supplies. Here is my 13″ x 19″ stash – some 500+ sheets which will see me to the grave. My average remaindered cost was under 40 cents a sheet and as the paper does not ‘go off’ with age, holding large quantities makes sense:


A lifetime’s supply.

Get it while it lasts!

The article index for my writings on the best large format printer ever made appears here. That link also shows the product numbers for the various HP paper sizes and finishes. Trust me on this – do not use pigment papers which claim they are ‘compatible with dye inks’. My tests elsewhere on this site shows the claims to be lies, and the prints thus made fade to oblivion in just a few weeks of exposure to light. By contrast, some of my DJ prints on HP’s swellable paper have been in bright sun >3,000 days (this is California, after all) and show zero fading.

B&H continues to list HP84 (black) and HP85 (five colors) ink cartridges and printheads. It makes no sense to stockpile inks as you want them relatively fresh – I keep a spare of each color) but if printheads start proving hard to get then I will stock up. The average printhead seems to last for ink throughput of some 200ml (meaning three 69ml cartridges of B, LM, LC or Y) or seven C or M whose cartridges are only 28ml in capacity.


Current B&H ink and printhead listing.

As I have often advised in the past, use of aftermarket inks is sheer lunacy. Untested, unknown longevity, potential damage to your machine – you really want to do this to your art work and hardware? The ultimate in false economies, regardless how low your opinion may be of the criminal cabal that is Hewlett Packard. That ’82’ sticker on the paper boxes above means an 82 year life when used with HP’s inks – not the bird droppings after market cartridge refillers offer.

For heavily discounted OEM HP84 (black) and HP85 (colors) printheads, try this link.

Mounting Big Prints revisited

Printing

Cutting costs.

The ‘archival’ acid free issue:

When I first wrote about heat mounting of big prints over 7 years ago I advocated the use of premium priced acid free mat board and acid free mats. I have reconsidered that advice and have concluded that it is not correct.

A quick look at the specifications for Seal/Bienfang mounting tissue explains why, but first let’s take another look at the physics of the equation. The ‘sandwich’ comprising a mounted print consists of the mat on the top, the print, mounting tissue and the foam board. Heating the sandwich in a press causes the adhesive in the mounting tissue to melt on both sides, forming the bond between tissue and board and between tissue and print.

Here are the spec sheets for the mounting tissue:



Note the pH rating of the adhesive which contacts the print and the board – it’s 7.0. Acid free. Neutral. The tissue itself is 6.9, very mildly acidic, and buffered by the neutral adhesive at that. About as close to neutral as you can get. As for the mat, the area of the mat contacting the print is minuscule – a small border contact, if that, as the mat is not in high pressure contact with the borders of the print.

Best mounting press temperature setting:

I now print exclusively on HP Premium Plus Glossy Photo Paper, preferring the punch to prints made on Matte paper. There are two drawbacks to glossy paper. First, every defect in the mounting process will show – loose hairs, dirt between print and board, creases in the release paper, any dirt on the heated platen in the press. All will leave a mark. This is bitter experience talking. Second, the warmer the press, the more of the gloss is lost in the process.

After much experimentation, I have found that a setting of 170F (compared with the 190F recommended by Seal/Bienfang for their Colormount tissue) is optimal. Is that a real 170F? I do not know as I have no way of verifying the accuracy of the temperature meter on the 160M Seal press I use. So you may have to experiment with yours. This low setting has two advantages. Much less gloss is lost than if you use 190F. And the mounted print can be pulled off the board for repositioning or removal of debris. The other day I had an ugly bump in the center of a glossy, mounted print. I peeled off the print, sure enough confirmed that a small piece of foreign matter had somehow crept in between print and mounting tissue, remove the offending dirt and reheated the print in the press. Perfect.


The 170F (77C) setting has been marked on the dial.

I always use release paper between platen and print and recently found some which has a very high gloss finish, which helps even further with gloss retention. And the release paper must be devoid of creases or they will become imprinted on the photo paper’s surface. It’s available inexpensively in long rolls from Artgrafix and highly recommended. Be sure to store the cut piece of release paper in a glassine bag between uses or it’s back to dirt, debris and printed surface damage again.

Even prints exposed to direct, long term sun have shown no sign of lifting from the mounting board using 170F for mounting.

Mat openings – key dimensions:

I typically mount both 13″ x 19″ and 18″ x 24″ prints on 22″ x 28″ boards. The HP DJ90 and 130 leave a 1/4″ border top, left (long side) and right (long side), with a bottom border of 9/16″ (short side). For the HP Designjet 90/130, after allowing another 1/8″ for safety,the mat openings are as follows:

  • 13″ x 19″: Opening is 12 3/8″ x 18 1/16″
  • 18″ x 24″: Opening is 17 3/8″ x 23 1/16″

Standard 1/2″ undercut mat openings will not work (17 1/2″ x 23 1/2″, for example) with the Designjet. Get custom cut mats from MatBoard&More. This vendor only stocks foam boards of 1/8″ thickness, so use Readimat for 3/16″ foam board supplies.

Conclusion:

1 – Foam mounting board:

22″ x 28″, 3/16″ thick, ‘Acid free’ foam mounting boards sell for $7.10 at Readimat.com. The non-acid free version is $4.10, or 42% less. I conclude that using ‘acid free’ boards is a waste of money with no material impact on longevity of the print. I continue to recommend 3/16″ thick boards over 1/8″, especially if, like me, you do not glass cover and frame your prints, opting instead for inexpensive mirror hangers to hold the ‘sandwich’ to the wall. The thicker board resists warping far better.

2 – Mats:

Acid-free mats 22″ x 28″ external, 17 3/8″ x 23 1/16″ opening cost cost $24.68 each. The non-acid free version costs $12.79, or 48% less. I recommend you use the non-acid free mats. Get custom cut mats from MatBoard&More.

3 – All-in price:

Excluding frame and glass, the cost of board and mat for an 18″ x 24″ print mounted on a 22″ x 28″ 3/16″ foam-core baord is $16.89 non-acid free, compared with $31.78 for acid-free. A savings of 47%. Buy in bulk and the savings grow.

The mirror hangers I use run $2.50 a set of four plus call it $0.10 for 4 x 3D 1 1/4″ nails, making the cost of a 22″ x 28″/18 x 24″ mounted hung print:

  • Mounting board: $4.10
  • Custom HP DJ 90/130 mat: $12.79
  • Mounting tissue: $0.50
  • Mirror hangers: $2.60
  • Paper and ink: $3.00
  • Total cost: $22.99 plus shipping costs for the mats and boards

That is a very attractive all-in production price for a large unframed print.


Nothing beats a big print.

D & K:

D & K bought Seal/Bienfang, the press maker, in 2010, so it may help to also search under that name when looking for supplies.