Thanks. I do shop online at B&H or Adorama for anything I just can't get here but by the time I pay for shipping, customs and brokerage the cost does add up - way up! All a good reason for a road trip across the border…I love NYC. 🙂
You know my situation, Peter, with having to feed three ravenous teenage boys and survive on a low income, through a mixture of choice and a hand that life dealt me a few years back when my mental health challenges surfaced. Frugality, is a state of existence here.
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I got mine brand new and unused, with its full ink set, off fleabay, from the US, shipped here to Oz, for under $250! Many of these printers are given away in promotions by Canon US, when folks buy a new camera. They take the rebate and then flog them off for a few bucks. I get my inks off fleabay also for substantially cheaper than direct from Canon even!
I don't buy into the pigment Vs dye-sub inks debate, that was over quite a few years ago for printing up to A3+. Here comes the caveat...
Unless you are selling to galleries, that demand a certain standard. My ink set is guaranteed to last for about 100 years on the Ilford paper I use. That's plenty long enough for my peace of mind at this stage of the game. It's not at day one of year 101 suddenly going to start disappearing, it just doesn't have the archival guarantee of the extra forty to a hundred years that professional printing does. I don't consider the Pixma Pro-1 a professional machine, it's built for serious hobbyists, even if they charge money for their wares!
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The frame and glass play just as big a part to the whole printing game and are muchos expensive!
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Keith Cooper over at
Northlight Images has an amazing array of detailed articles covering the rabbit hole that is modern printing.
This one covers the minimum of what is needed to calibrate for your paper and printer. You really shouldn't just calibrate your monitor and then use stock ICC profiles for your paper, if you want the best from your images, that is. It's a one-size-fits-all approach doing that and I can't take all the time and effort to plan and capture an image, edit it for screen and print delivery, then apply a universal fix to it! :roll eyes:
I also go further and add extra swatches of colour samples to intensify the accuracy of the profiling of my printer and paper mix. It's really simple with the ColorMunki Photo. You basically take an image and the program works out a series of fifty more colours or shades for me as I only print in black and white. I've added nearly three hundred extra shades to the mix now and have superb tonal matching from screen to paper! As much as I would have loved to have gotten the big brother to the ColorMunki Photo, the i1-photo-pro2, I couldn't warrant spending that much extra $$$ for it.
Anyone printing and profiling their papers that use optical brighteners, (what Macasan mentioned about his printer evening out the surface) needs to be using the i1-photo-pro2 for profiling their papers and ink sets as the ColorMunki Photo can't deal with that extra layer properly!
As I mentioned, it's a heck of a rabbit hole once you start investigating it properly and it all depends how far you want to go with it.
Phew... Time for breakfast, have a good one all.
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