Digital BW, The Print

>I mentioned in an earlier post that I tried replacing the Cyan position
>with MIS-LK and the Photo Cyan position with MIS UT-Y. I got the idea
>from one of the experimental inksets that Paul posted earlier, and it
>seems to work very well.
>
>In effect I'm actually only using three inks now, but I can't really
>tell the difference, except for som very slight midtone dotting around
>30%.
>
>The curves required to balance the tones are much more gentle than full
>separation curves, and the highlights stay dotless no matter what
>adjustments you make. I've made a cool and a neutral warm curve for this
>inkset now and might go on to make a warm curve as well.
>
>It's really easy to work with, and the results are great, so I might
>actually stay with this for a while - At least until Paul finalizes his
>dual-toner inkset...
>
>--
>Daniel Staver
>http://daniel.staver.no

Daniel -

Forgive me if you've covered this already in your posts to the group, but:

I assume your procedure (replacing Epson's OEM Ultrachrome Cyan with MIS
light black, and OEM Ultrachrome Photo Cyan with MIS Ultratone Yellow) is
aimed at neutral B&W printing. Since I've read that yellow ink is
responsible for most of the metamerism characteristic of the Ultrachrone
inks (typically, a green cast in daylight, magenta under tungsten
illumination), how do your results look in terms of color shift under
different types of light?

I am looking for a way to print neutral, metamerism-free images onto a
non-matte paper (Epson semigloss or luster, probably) using a 2200 printer.

Thanks for any guidance,

-- Nick