Digital BW, The Print

Hi Martin, I also thought I might be slightly colorblind when everyone thought I liked my prints too "cool". The next time I went to get new
eyeglasses, I took a color blindness test. The doc showed me around 25 charts of different colored numbers, and it turns out I got them all
correct.  So I guess I have normal color vision, but I do like my prints slightly cooler than most people. I don't want to actually see cyan
or blue in a print. Just cooler than normal.

Jerry



Martin Wesley wrote:

> 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
>
>
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