Originally Posted by chikne
So you're making a negative from an inkjet printer is it?
Not yet, but that is where I would like to go.
What is holding me back is that I live in Madhattan and don't have studio space for even a darkroom. Of course contact printing from digital negatives requires a vacuum frame for best results. The idea is make a perfect negative and contact print limited editions. I would need lots of studio space.
Currently this is what I have: a 27 inch Eizo, a 3880, a 7800 and a three year old maxed out Macbook Pro. At this point I am printing the output from my Monochrom and not scanning (know that I shoot lots of medium format) using a warm neutral to selenium splitone inkset that I blended. I'm using a QuadtoneRIP and not the Epson OEM driver for higher resolution. I've been only printing digitally for now a little more than a year, but last year I spent $8.2K in paper and ink. The initial $5K total was to feed the 3880 and the more recent $3.2K is to feed the 7800 which I don't have online yet. I basically stuck with only one paper (Jone Cone Type 5) and only recently am I exploring other papers.
If you are interested in this process there is extensive info at Jon Cone's website, but I have to warn you that it almost requires a masters in journalism because it is an overload of information that requires filtering and sorting. PM me if you have questions. Understand that I still develop lots of film, even though it is inconvenient with a girlfriend, a dog and using a changing bag.
POSTSCRIPT: Fred, Piezography is kinda turnkey, but it favors the larger Pro printers. The 3880 is marginal IMHO because of paper handling limitations, and also because the resolution and fidelity of Piezography is so high. Only worth it if you want to print big or for exhibition.