Epson 2200 and Ultrachrome
Epson 2200 and Ultrachrome
- Subject: Epson 2200 and Ultrachrome
- From: Bob Rushing <email@hidden>
- Date: Sun, 21 Mar 2004 10:29:06 -0500
This is my experience with the epson 2200.
My images are from a Kodak 14n. My working space in PS is set to
ProPhoto RGB. I capture images in 16 bit color and strictly use TIFF
files. No JPG. and no compression.
When I first purchased the 2200 I was using it on the Windows platform.
W2K Prof., PS7 on a dual cpu box. Although PS was quite fast running on
dual processors, I just couldn't get the colors right on Windows, no
matter what I tried. I was using the Epson driver with the canned
profiles and my prints were just blaaa.
Next, I switched over to my G4 running OSX. At first this was a
nightmare. I had to do quite a bit of research in order to get ColorSync
to work correctly with the Epson driver. Quite honestly, I was at the
point of eBaying the Epson. What helped me enormously was purchasing the
book "Real World Color Management". Probably my most wisely spent fifty
dollars. Now, all my printing that is important gets printed using the
G4 and the 2200.
These are my observations regarding profiling the Epson. My first
attempt, I tried a friends Monaco profiling software and got absolutely
nowhere with it. And it isn't likeI didn't try. I just couldn't get it
to work on my 2200 either on the G4 or the Windows box. The next
product I tried was Pantone ColorVision Pro that comes with the Spider
and PrintFix. I purchased this product because it had a thirty day money
back guarantee. This product worked. I profiled my 2200 and to my
amazement, the prints were quite close to what was on my aging monitor.
My test prints gave me the most accurate color reproduction I have
achieved thus far. And I did this using the profile that was made using
PrintFix.
Now here's the catch. I print the same image using the PrintFix profile
and the Epson profile then hold the prints side by side. What I observe
is the profile created using PrintFix is accurate, the Epson profile
produces more saturated colors. Next I compare the prints to the actual
subject. I don't have a viewing booth or 5500K lighting but the PrintFix
print is almost dead-nuts-on as far as color of the actual physical
subject and color on the print. So I'm thinking - wow, I'm impressed. So
I take the two prints and show them to a client, prints side by side and
ask her "what do you think and which one do you like best?" She picked
the print made using the Epson driver as the one she likes! At first
this threw me. So the lesson that I eventually learned after repeating
this side by side comparison using non color savvy subjects is - what
sells. It appears to me people will pick what they feel is pleasing to
their visual senses and not what is necessarily accurate color
reproduction. So here I was beating my head against a hard subject
trying to find this magical solution when it is now obvious to me it's
what the client wants. I would go crazy trying to get the the color
"just right" and all along, the client liked the print that they
thought was most pleasing - not most accurate. When asked why, they
responded "I like the color on this one" or "this one has nicer color"
(pointing to the print made with the Epson driver). Than again, this is
explained in "Real World Color Management" because after reading the
book, it now makes sense to me. My own artwork however, is another
story. But artistic expression is an different animal than photographing
people and events for hire.
I checked into some of the RIP drivers and they are too expensive for me
right now. And I too don't like or use the Epson Vivid color option. I
think it's horrible but, to each his own. Plus, what this forum has
shown me is that first you have to start with a calibrated monotor. No
ifs, ands or buts. Calibrate that monitor. And if you can't, go buy one
you can calibrate.
regards
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