Epson XP-15000 printer review
XP-15000 printer review
Photo printing on the Epson Expression Photo HD XP-15000
...Get our Newsletter for new articles/reviews and why not subscribe to Keith's YouTube Channel
...Keith's book about how to use tilt/shift lenses is now available.
Our site contains affiliate links - these help support the site. See our Advertising policies for more
Keith has been looking at the Epson XP-15000 printer.
It’s a smaller (and cheaper) printer than he normally looks at for photo printing. However, its distinctive ink set and capabilities make it an interesting option for people wanting a smaller office style printer which can do the occasional large photo print.
The Epson Expression Photo HD XP-15000
The XP-15000 is a dye ink based printer which adds a grey and red ink to the normal CMYK mix. This along with its support for A3+ paper (13″ x 19″) and custom paper sizes up to 13″ x 44″ makes it a step up from the average ‘small office’ printer.
This review looks mainly at using the XP-15000 for photo printing, rather than its plain paper printing functionality. It handles double sided printing, with an adjustable paper tray taking a range of paper sizes, including envelopes.
>Click on images to see larger versions<
What you get
The printer is supplied with:
- XP-15000 Printer
- Initial Ink Cartridges
- AC Power Cable
- User Guide Kit (Documentation and Warranty)
- CD/DVD Disc Tray
If you want to use USB or Ethernet to connect, you’ll need a suitable cable.
The printer was loaned to us by Epson UK, and had already been set up.
The process is covered in detail when using the Epson website and installer software – Physically it’s just removing packing materials (blue tape mostly) and installing the six ink carts.
There are lots of animations and explanations of the process.
Then it’s time to set up the computer and connection. It’s possible to set the printer up purely for printing from phones/tablets, although you’re never going to get the full range of functionality you’d want for printing better (edited) photos, and colour management is still very hit and miss in this area.
I connected the printer to our wireless network. Because it had been used before at Epson, I did a full factory reset (from the control panel) so I could set up the printer ‘as new’.
The Epson software is much less of an afterthought than in the past.
Of these, I’d avoid the ‘Low Ink Reminder’ – it hasn’t appeared once on my Mac or laptop without me dismissing it as an annoying interruption… You may find it useful.
I note that Epson Print Layout is not included. This is an oversight, in that of all the Epson software, it’s probably the most useful. I’ve details of it later, and I’ve more information in both my P700 and P900 reviews.
After a while, the driver software is installed and it’s time to ‘add’ a printer to my system.
Just one warning – make sure that the word ‘AirPrint’ doesn’t appear in a name – this is a cut down driver, and the most common source (on Macs) of people wondering where many of their printer driver settings have gone. For more about this, see my Epson P700 setup article.
At this point, I’m glad of the spare inks Epson have sent along with the printer.
I’ll cover ink replacement in a bit, but just note that you get warnings for quite some time before you really need to replace a cart.
The Printer has its own web pages too. These make the setup for remote print services, and printing from wireless devices somewhat easier than working through the printer’s own screen.
Here are the same ink levels shown earlier.
Space for the printer
The printer packs away well, but if you open the output tray and rear feed support, the required space is larger, especially for A3+ (13″ x 19″).
If you’re using thick art papers at the rear, do make sure they are resting evenly in the feed mechanism.
In general paper feeding with the XP-15000 was very reliable, but I did have a few failures to load with some very thick paper. A slight downwards pressure on the top of the sheet fixed this, but it was never a serious issue.
The top slot can take multiple sheets, but with thicker, better quality papers I fed individual sheets.
The printer has Ethernet (10/100), USB (3) and WiFI connectivity (2.4 and 5). The wired ports are at the rear.
Note the bit of blue tape someone at Epson had missed when they first set up the printer ;-)
Third-party connectivity support (not tested here) includes Android printing, Apple AirPrint, Fire OS printing and Google Cloud Print.
The display on the front is relatively small (2.4″) but has enough detail and is clear enough to read
Clearer than in these photos where I seem to have produced some unwanted Moire fringing.
The menus are easy to follow and many have options for showing explanations/instructions.
The classic test for any inkjet printer is the nozzle check.
Printed on plain paper, this will show any issues with ink flow in the print heads.
I print one of these patterns on any printer I’ve not used for a few days. If you do see a blockage, resist the temptation to run multiple cleaning cycles. If the blockage hasn’t cleared after two cleans, the repeated cleaning are just wasting ink. Leave the printer alone for half an hour or so before another check – if need be then leave overnight. It is difficult to ignore the printer, but patience is usually rewarded, along with less wasted ink.
With any new printer or one that’s been shipped to you, it’s worth running the head alignment setup, especially if printing photos at the best quality settings.
I’ll discuss ink usage in the conclusions, but at a certain point ink carts will be flagged as low or empty. This happened pretty quickly with this printer (remember that I didn’t set it up).
Since I was printing test charts for profiling, which use a lot of colours, I changed the two carts showing low (Magenta & Grey)
The display can show what to do.
It took just a few minutes to open the ink packs and swap them over.
The carts are all the same size – these are XL or higher capacity ones
After use, clip the covers on the old carts – I weighed them and there is very little ink left, but the sponge at the base will stain fingers and the like…
There are several versions of carts available – they are sold in packs identified by a red squirrel on them. The XL versions have more ink in them
- 4.1ml for colour standard capacity
- 5.5ml for black standard capacity
- 10.2ml for colour XL capacity
- 11.2ml for black/grey XL capacity
If you intend to use the printer much for photos, then the XL multipacks are the way to go. Note that the CMYK inks have a 378 code, whilst the grey/red have a 478 code – take care when ordering, that you get the correct inks
The carts are similar in most respects.
You can leave changing until the printer absolutely insists.
At a push, the printer will let you continuing printing in B&W mode only.
Note that this meant for documents, not B&W photos!
The maintenance cart fills with ink used for setup and ongoing cleaning. It’s also where overspray from borderless printing ends up.
It’s accessed by unscrewing a panel at the front corner.
Unlike ink carts, I’d not keep a spare for this. I’d expect it to last for quite some time and give plenty of warning when getting full.
The printer has two paper feed paths. The paper tray below is for plain paper/envelopes and thinner photo media.
There is a cover which flips down. This is OK to use to pull out the tray
The tray pulls out – it’s adjustable for a wide range of media sizes.
Here it is removed, showing the blue guides set for a small sheet size
Sliding under the tray (for storage) is a CD printing adapter.
This is used for CD printing.
The prints come out at the front. Here I’ve pulled out the print tray to its full extent.
There is a button on the panel to draw it back into the printer – with this printer it didn’t extend the tray, however printing whilst the tray was inside, did cause the tray to extend for the print.
Paper from the lower tray is bent by 180º via the rear feed unit. This also works for duplex printing.
The blue side button releases the unit for access for stuck paper and the like. As with most duplex units, it works best with fresh uncrumpled paper.
Top paper feed
The top feed is where I loaded sheets of photo paper and heavier media such as rag papers and even canvas.
Paper feeding was very reliable with just a few minor issues as noted earlier, with very thick paper.
The paper output path has what are sometimes called ‘Pizza wheels’. I’ve seen numerous complaints about this on forums nd have almost never been able to see it on a printer I was testing. One paper I used, an extra glossy ‘metallic’ paper showed two very fine longitudinal scratches on the surface if you looked very carefully and got the light right. Other than that, the problem was as elusive as it has been in the past.
Custom media sizes
Paper sizes can be specified as needed, if one of the default sizes won’t do. For myself this most often arises when making panoramic prints, whether from roll paper or some of the panoramic paper sizes now available.
The custom size can be set from the front panel as well.
This will be added to the recent sizes listed when setting paper sizes for new sheets of paper. This may or may not be of help in making sure everything is correct.
Depending on what software you’re using, feedback like this can increase confidence that everything is correct. Some sheets of specialist paper may be a bit expensive to lose from simple errors.
With any new printer I’ve a series of known test images that I always start off printing, I know what these images look like on different types of paper and many different printers. It’s a quick way of seeing if the printer is up to more detailed testing, since if it can’t manage one of these images, it’s not going to suddenly look better with others.
I always suggest using such images when testing new papers, rather than your own favourite photos. If you can print an image you like the quality of, from these, then it makes refining the printing of your own work so much easier.
The images (and many others) are available for free download on this site.
Both images have lots of components to specifically test different aspects of printer performance.
I also use both for testing the performance of printer profiles. If you make use of them, then do be sure to read the explanatory notes that go with them.
I’m printing one of our test images here, on a matte art paper. The print size is set to A3+ and I’m using a custom ICC profile for the paper.
For a matte art paper, the colour and depth of black is excellent, but the colour cast I can see in the B&W section in the far corner is less welcome. I’ll come back to this in a look at B&W printing, but suffice to say, taking the print to a window and looking at it under diffuse daylight rather than LED lighting gave a distinctly more neutral look to the B&W part.
As well as using Epson profiles for some of their papers, I created quite a few profiles of my own, typically from nearly 3000 patches on an A3+ sheet.
I’m printing my profiling targets (via the Mac ColorSync Utility) using whatever seems closest from the range of media choices available for the XP-15000.
A profile target being printed – the point where I discovered that unlike some printers, lifting the lid doesn’t stop printing.
The supplied colour profiles for Epson papers all worked just fine.
Black and White
There are two main ways of printing black and white images on the XP-15000. One is using the normal print mode with an ICC profile and the other is to use the ABW (Advanced B&W) mode.
At the moment, no profiling system I have here offers profiles optimised for black and white printing. X-Rite include a B&W mode on their i1Studio product [my reviews] but it’s somewhat variable.
One of my B&W test images.
ABW – the best for B&W?
Normally with Epson Pigment ink printers I’ve reviewed, the ABW mode is absolutely the best way to print B&W photos. However, with dye based inks there is typically more print variation under different lighting types
In the course of testing, I’ve printed a lot of copies of this particular version of my B&W test image.
The example here shows the colour variation and linearity issues I noticed after printing on Epson Premium Lustre paper with an Epson Premium Semi-gloss profile
Why print with a ‘wrong’ profile? Well, it’s a standard Epson paper and I might have thought quite close to ‘Semi-Gloss’.
Premium Lustre isn’t an available media option.
Prints made with the ABW mode were closer, but with a degree of change under different lighting that, after recently testing the P700 and P900 printers (pigment inks) I wouldn’t always be happy with.
The next section is a bit more technical, but the short version, is use ABW first, but if you have profiles for the paper, give it a go. You can get reasonable B&W from the XP-15000, but be prepared to experiment.
Those strips at the top of the test image are for reading with a spectrophotometer. Their main purpose is to give me a feel for the linearity of the B&W printing process.
First up Premium Lustre paper using the ABW mode, with Premium SemiGloss as the media setting. I’m using the default ABW settings. (BTW – ignore the faulty reading for step 0)
I’m seeing a very good linear response, with no crunching of shadows. However, at black levels >85% I’m seeing a serious dive to the left in the ‘b’ numbers. This means that deep shadow will have a distinctly cooler look than mid tones. The blueness at the top is due to OBAs in the bright paper.
Trying with a profile (the one from the example print shown earlier) shows not only tonal balance wandering about, but a serious case of crunched up shadows.
Switching the rendering intent to Relative Colorimetric (with BPC) improves the linearity
Even so, the overall neutrality of the print is not what I like to see in my B&W prints.
Switching to a Matte paper (Olmec 230gsm – very similar to Epson matte), the profile version wasn’t too bad, but still the ABW version looked best.
One point to note with the matte paper is the density of ~1.8. This is noticeably in excess of the typical ~1.6 I see on matte art papers with pigment inks. With some ‘art’ papers it’s even darker.
It means that on some papers (matte and ‘fine art’) you can get darker blacks than on much more expensive printers. This makes for good colour prints with dark backgrounds.
However, it come at the cost of having prints that are more likely to gain/change colour tint under different lighting sources.
A look at the i1Profiler measurements from my B&W test images shows one reason why.
Look at the horizontal green line on the mid left. That is the spectral response of light reflected by the blackest patch.
What we really don’t want to see is that steep rise at the right of the curve. This means that the black patch is nowhere near as black when it comes to reflecting deep red light as it is for other (shorter wavelength) colours.
This is why your B&W print may look different under tungsten (warm) lighting compared to cooler lighting or daylight. No amount of profiling will fix this. It is a ‘feature’ of current dye based inks
This isn’t just a Epson ‘feature’ – all current dye based inks show the effect
So, good B&W printing is possible, but you will need to experiment. Also, be prepared to accept that some papers, no matter how well known the brand, might just not work very well.
For my printing I’ve used Photoshop (CS6) and the Epson Print Layout (EPL) software. I’ve printed directly from Photoshop via its print dialog, and using EPL as a Photoshop plugin, where it’s accessed from the Automate menu. EPL works as a standalone application and can be used with some other editing packages. There is some more info about EPL below, but the majority of my printing was from Photoshop.
Note that Photoshop is what I use for most of my professional print work. Printing should be similar for other editing applications and on Win PCs
Amongst papers I tested were:
- Premium Luster
Along with: †
- Canson Rag Photographique
- Olmec Photo matte archival 230
- Hahnemuhle Smooth Fine Art 265*
- Pinnacle Lustre 300
- Pinnacle Baryta 310
- HP Watercolour 210
- PermaJet Titanium Lustre 280
- Permajet Titanium Gloss
* This is the ‘mystery paper’ I’ve used in several articles, since I’ve an unmarked box of the stuff
† ICC profiles for these are available for non commercial use on written request
A normal ‘bordered’ print using EPL
The image (Ely Cathedral) has been resized to fit. It has not been scaled to any particular pixels per inch (PPI) setting.
The image was originally printed at a larger size and sharpened at that time. I often keep ‘print-ready’ versions of images, signifying this in the file name, so as to avoid further unnecessary processing.
Borderless printing is available for many paper sizes. The image is printed oversize for the paper, so you will lose some of it. Here’s the Epson software set for making a borderless print.
The paper is a glossy ‘metallic’ paper that produced some excellent looking prints, with a depth and luminosity that you wouldn’t get with pigment inks.
The printer allows for custom paper sizes (not borderless) of up to 1.2m long.
I’ve got some ‘double A4’ paper which is good for panoramic images, although you could just as well cut a length from a 13″ roll.
I’m printing from EPL – note how the image doesn’t quite fit the paper – but I can always trim the paper,
I’ve set a new custom paper size in EPL and called it ‘Double A4’
Here’s the print under way
The finished print.
As I mentioned, one issue with pre-cut paper is that it defines your aspect ratio. If you print on the double A4 with a 10mm margin, you get ~3:1 aspect ratio
The printer does record some basic print history, which may be useful for keeping tabs on your printing (or others with access to the printer…)
It’s accessible from the web page.
Print Quality and settings
My usual advice for larger printers is that one step down from the highest quality is a good starting point. With the XP-15000 (and good quality media/profiles) the highest quality settings made a just perceptible difference to good quality images. Not obvious but I’d select it for individual prints.
If I was printing out a stack of 6×4 prints to hand out to people – faster settings are fine – no-one actually notices detail stuff like this, no matter how much we sometimes like to think they do…
Epson Photo+ is the consumer level print application optionally installed during setup.
Its main use for me is that it enables reliable printing of CD/DVDs and the inserts for cases. Printing these from somewhere like Photoshop is tricky for formating, whilst Photo+ gives all these template options.
Here’s an example where I’ve just dropped a picture on to a template.
Note that you will need to experiment with colour settings, since there are a lot of different types of printable CD/DVD with different surfaces.
The disk just fits in the tray.
It’s pushed in to align the marks.
Here’s the printed CD.
Epson Print Layout (EPL)
At the time of writing, the Epson Print Layout software is not installed in the initial setup. The official download page from Epson UK is:
For using EPL I’ll normally use the appropriate ICC profile. The software will allow a default profile for the printer for Epson media settings, but be aware that these are for Epson papers. If you get profiles for a paper, then they should have a media setting to use specified.
It’s well worth looking at any image with different rendering intents, since there is an element of soft proofing available. Like all soft proofing, use this for assistance rather than relying on it to show exactly how a print will look. Soft proofing can never replicate how a print looks.
If you’re new to printing, you may find my article about how printing improves all of your photography of interest.
The software also has good layout options for multiple images and gallery wrap options for canvas.
Yes, the XP-15000 will print canvas. I created profile for a matte 380gsm canvas which looks fairly good, although you’d ideally want to coat/varnish the surface to get the best look.
Here, I’m printing an image on an A3+ sheet of canvas, and have added a mirrored/blurred extension for wrapping over an A4 sized stretcher. There are settings in the EPL software to handle lots of different mounting methods.
Here’s the 13″ x 19″ sheet loaded, along with the stretcher.
This particular stretcher has sticky tape along the edge to hold the canvas in place, but you’ll still need to fold/cut the corners and tack/staple it at the back.
Here’s a full size (A3+) version of the image as well.
For the larger image, I might just mount it in a normal frame after spraying.
I’m not a huge fan of canvas, but I prefer to use a glossy finish canvas, which doesn’t need spraying. I have a 12 foot long panoramic print at the top of our stairs. This was printed on 24″ roll canvas (on a much bigger printer!) and fitted to a custom stretcher by a local picture framer.
As a professional photographer who uses some pretty expensive kit for printing, why look at the XP-15000?
Well, not everyone wants or can afford a top end photo printer – yet alone has the space. It does mean that I have very high standards for my own work, but that comes at a cost.
What I wanted to see, was if a cheaper printer like the XP-15000 could produce prints I’d be happy to have my name next to? It turns out that in many instances it could.
Dye inks with Red and Grey
The Claria Photo HD inkset adds grey and red to the normal ink mix, whilst removing Light Cyan and Light Magenta. Epson say that this is to improve gamut and greyscale performance. Well, the colour range is good, but B&W needs some experimentation to get the best results.
As you’d expect with modern dye inks, colour prints on glossy papers and some art papers look excellent. Results were less impressive with several baryta style papers I like, where the fact that such papers are optimised for pigment ink really shows.
Just one observation – if you look to use cheap photo paper without profiling, expect variable results. That’s not to say, use Epson papers, just avoid cheap stuff.
If print longevity really matters to you, then you’d likely choose pigment inks and media that match. However, the prints from the XP-15000 will likely long outlast me if kept out of the sun and kitchen.
The ABW print mode gives the best results for B&W printing, and on some art papers gives really deep blacks. The printer can give quite good looking B&W prints on glossy and some matte papers. Baryta style papers perform less well, since they are often optimised for use with pigment inks. Black and white printing of photos will need some experimentation with papers and technique to do well.
If you are really keen on B&W photography and want top notch prints ‘out of the box’ on darkroom style papers, then you need a pigment ink based printer.
The screen is very clear, but feels a bit small. Controls are easy to use and I only tried using it as a touch screen a few times. I’d obviously been spoilt by the excellent touch screen of the P700/P900 which I recently tested…
With a printer that was already used it’s very difficult to gather meaningful data about ink usage rates. If ink costs really matter a lot then there are cheaper options, such as the Epson EcoTank models – but they are unlikely to give the photo print image quality you’ll see with the XP-15000 (and don’t go to A3+). Of course, going to a much higher end printer such as the P900 will bring recurring ink costs down and give you the option to print at A2/17″ width.
Where the XP-15000 scores is as a relatively cheap introduction to higher quality photo printing at a good size.
Design and build quality
The printer is nicely compact (16.0cm x 47cm x 36.8cm | 6.3″ x 18.7″ x 14.5″) roughly the size of an A3+ page.
No bits felt flimsy or likely to fall off – a complaint I’ve seen levelled at the new P700, even though I soundly disagree with it.
So – what’s it like to use?
It’s very easy to set up and get going. Ink changes are simple, and the paper feed very reliable. I can’t comment much on its office printing capabilities (it worked) since page printing times are something I leave to computer magazines to test and assign spurious ratings/scores.
The ink set can give splendid looking colour prints on high gloss papers and some art papers.
If you’ve questions or comments, please do feel free to email me at Northlight, or use the comments section at the foot of the article.
- Printing Technology: 6-color (C, M, Y, K, GY, R), drop on demand MicroPiezo® inkjet technology
- Maximum Print Resolution: 5760 x 1440 optimized dpi
ISO Print Speed: Black: 9.2 ISO ppm† Color: 9.0 ISO ppm†
- 2-Sided ISO Print Speed: 4.7 ISO ppm (black)†, 4.7 ISO ppm (color)†
- Minimum Ink Droplet Size: Variable droplet as small as 1.5 picoliters
- Photo Print Speed: 4″ x 6″ borderless photo in as fast as 27 sec (Draft Mode)3
Note: This printer is designed for use with Epson cartridges only, not third-party cartridges or ink. Use such ink at your own risk and don’t complain when prints look awful ;-)
- Ink Type: Claria Photo HD Ink
Ink Configuration: 6 individual ink cartridges: 4x 312 ink (1x Black, 1x Cyan, 1x Magenta, 1x Yellow); 2x 314XL ink (1x Gray and 1x Red)
- Replacement Ink: 312 Standard-capacity Black, Cyan, Magenta, Yellow (ISO page yields — Black: 240, Color: 360) 7
312XL High-capacity Black, Cyan, Magenta, Yellow (ISO page yields — Black: 500, Color: 830) 7
314XL High-capacity Red (ISO page yields — 830) 7
314XL High-capacity Gray7
Ink – non US codes
- Hi-Speed USB
- USB Host
- Wireless 802.11 b/g/n5
- Wi-Fi Direct®5
- Ethernet 10/100
Mobile Printing Solutions:
- Epson Connect: Epson Email Print, Epson Remote Print, Epson iPrint™ App (iOS®, Android), Creative Print App (iOS, Android)4
- Other: Apple® AirPrint®, Google Cloud Print™, Android printing, Fire OS™ printing, Mopria® Print Service
- Windows® 10 8/8.1/Windows 7 (32-bit, 64-bit)
- Windows Vista® (32-bit , 64-bit)
- Mac® OS X® 10.6.8 – macOS® 10.12.x6
- Operating 50° to 95° F (10° to 35° C)
- Storage -4° to 104° F (-20° to 40° C)
- Humidity: Operating 20% to 80%
- Storage 5% to 85% (no condensation)
- Power: 6.2 B(A)
- Pressure: 49 dB(A)
- Printing: 18.7″ x 30.9″ x 16.2″ (476 x 785 x 412 mm) (W x D x H)
- Storage: 18.7″ x 14.5″ x 6.3″ (476 x 369 x 159 mm) (W x D x H)
- 18.7 lb (8.5 kg)
- Paper Sizes:
4″ x 6″, 5″ x 7″, 8″ x 10″, A4 (8.3″ x 11.7″), letter (8.5″ x 11″), legal (8.5″ x 14″), 11″ x 14″, 12″ x 12″, B (11″ x 17″), A3 (11.7″ x 16.5″) and Super B (13″ x 19″), user definable (2.2″ – 44″ in length)
- Maximum Paper Size:
13″ x 44″
- Paper Types:
Plain paper, Epson Bright White Paper, Brochure & Flyer Paper Matte Double-sided, Ultra Premium Presentation Paper Matte, Premium Presentation Paper Matte, Premium Presentation Paper Matte Double-sided, Presentation Paper Matte, Ultra Premium Photo Paper Luster, Ultra Premium Photo Paper Glossy, Premium Photo Paper Semi-gloss, Premium Photo Paper Glossy, Photo Paper Glossy, Photo Quality Adhesive Sheets, Iron-on Cool Peel Transfer paper
- Borderless Sizes:
4″ x 6″, 5″ x 7″, 8″ x 10″, A4 (8.3″ x 11.7″), letter (8.5″ x 11″), 11″ x 14″, B (11″ x 17″), and Super B (13″ x 19″)
- Envelope Types:
- Input Paper Capacity:
50 sheets plain paper (legal)
200 sheets plain paper (letter)
50 sheets photo paper
- Output Paper Tray Capacity:
100 sheets plain paper/20 sheets Premium Photo Paper Glossy
- Rear Feed:
50 sheets A3+ plain paper, 20 sheets Premium Photo Paper Glossy, 10 envelopes1
- Rated Voltage: 100 – 240 V AC
- Rated Frequency: 50 – 60 Hz
- Rated Current: 0.6 Amp
- Standalone Copy Printing: Approx. 24 W (ISO 24712)
- Ready: Approx. 5.7 W
- Sleep: Approx. 0.7 W
- Power Off: Approx. 0.1 W (ENERGY STAR® qualified)
*This product uses only genuine Epson-brand cartridges. Other brands of ink cartridges and ink supplies are not compatible and, even if described as compatible, may not function properly.
† Black and color print speeds are measured with letter-size paper, in accordance with ISO/IEC 24734. Actual print times will vary based on factors including on system configuration, software, and page complexity. For more information, visit www.epson.com/printspeed
1 Specialty paper support accommodated through rear paper feed, maximum 23 mil paper thickness, manual 2-sided printing only.
2 As compared to the Epson Artisan® 1430 printer dimensions.
3 Color photo in Draft Mode on Premium Photo Paper Glossy measured from start of paper feed. Actual print times will vary based on factors including system configuration, software, and page complexity. For more information, visit www.epson.com/printspeed
4 Most features require an Internet connection to the printer, as well as an Internet- and/or email-enabled device. For a list of Epson Connect enabled printers and compatible devices and apps, visit www.epson.com/connect
5 Wi-Fi CERTIFIED™; level of performance subject to the range of the router being used. Wi-Fi Direct may require printer software.
6 Some applications and/or functions may not be supported under Mac OS X.
7 Replacement cartridge yields are based on ISO/IEC 24711 tests in Default Mode printing continuously. Replacement cartridge photo yields are significantly lower and are based on the ISO/IEC 29103 pattern with Epson’s methodology. Cartridge yields vary considerably for reasons including images printed, print settings, temperature and humidity. Yields may be lower when printing infrequently or predominantly with one ink color. All ink colors are used for printing and printer maintenance, and all colors have to be installed for printing. For print quality, part of the ink from the included cartridges is used for printer startup and a variable amount of ink remains in the cartridges after the “replace cartridge” signal For more information, visit www.epson.com/inkinfo
8 For convenient and reasonable recycling options, visit www.epson.com/recycle
9 SmartWay is an innovative partnership of the U.S. Environmental Protection Agency that reduces greenhouse gases and other air pollutants and improves fuel efficiency.
Enjoyed this article?
All the latest articles/reviews and photo news items appear on Keith's Photo blog
Keith explains tilt and shift lenses
Keith has written a book that looks at the many ways that tilt/shift lenses can benefit your photography from a technical and creative point of view.
There is also a specific index page on the site with links to all Keith's articles, reviews and videos about using tilt and shift.
We've a whole section of the site devoted to Digital Black and White photography and printing. It covers all of Keith's specialist articles and reviews. Other sections include Colour management and Keith's camera hacks - there are over 1200 articles/reviews here...
Articles below by Keith (Google's picks for matching this page)
We're an Amazon.com affiliate, so receive payment if you buy via Amazon US