Digital BW, The Print

Martin, I see no green in any prints on EAM, but I do see a very brown image in daylight on pure white papers. Under tungsten lighting, they
are completely neutral, and I see no brown.

I remember the very first piezo print I ever saw. It was J. Cone's small sample print he sent out to everyone who asked for a sample. It was
on watercolor paper. It was extremely muddy, flat, and had an extremely weak black. It was brownish, but also had an olive green cast. I was
amazed that he would send out such a poor quality print as a sample of piezography. If I ever turned in a print like that at Brooks, it
would have gotten an their equivalent of an F. (Automatic Reprint til you got it right). BUT... there were no dots! That's the only reason
why I bought into the system. I figured that on a different kind of paper, you could at least get better contrast. You could. Then I wanted
a way to get the brown tones out of the inks. (I never experienced that olive green cast when I was printing, so I attribute that to the
paper the sample was on). That's when I started wondering if someone had ever altered the tones of the piezo inks. Tom Welch was the first
person I found who had, and he sent several samples of his cold toned look. Beautiful prints! No dots! Cold Toned! I got some of the
doctored inks from him, and got beautiful Cold toned inks. Then Paul Roark started his curves, and MIS variable tone inks, and it just took
off from there. It seems like there are no ink/paper combinations without problems even today, a few years later. Even when you think you
find one that is without problems, someone finds some. It's really frustrating.  For Me, I'm done with Piezo inks. When the ones in my
printer are gone, their gone! THe MIS inks and Paul's curves are so good, I have no need for the high priced system any more.

Jerry