Digital BW, The Print

Jerry,

As I said I may have a slightly off color vision. That "brownish. but 
also had an olive green cast" is what I am seeing on pretty much all 
papers with piezo. But the operative words are SLIGHT and TO MY EYE.

I have often though that if Piezo were just a bit cooler or a bit 
warmer even, it would move off a color point that I have always found 
a little less than satisfying under tungsten light.

As a note, I consider tungsten and halogen the reference lighting. 
That what people have in their homes and that is what you will find 
in galleries and museums. While the 5000K graphic arts standard is 
critical to color reproduction, not much of the results will be 
viewed at that color temperature.

I hope to have the VM inks up on my 1280 very soon and am looking 
forward to the results.

Thanks,
Martin

--- In DigitalBlackandWhiteThePrint@y..., Jerry Olson 
<jerryolson@r...> wrote:
> 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