Digital BW, The Print

I find it hard to believe that "mixing" the colors in the bottle requires so much less color 
pigment than separately applied dots that it has a differential effect on longevity. Perhaps 
it is an issue at the extreme (e.g., very cold where lots of blue is applied), but I would 
guess that an equivalent cold ink wouldn't have all that much less color pigment. 


Costa Colbert

> In a recent phone conversation with Bob at MIS he expressed his own
> doubts about the RIP approach, echoing my own concerns.  The
> implication (as I interpreted his remarks) was that the amount of
> color pigments (which he said are made of "various polyesters") used
> in the RIP technique is greater than the tiny amounts mixed into the
> carbon inks of gray scale sets (I don't know if anyone has actually
> calculated the difference).  He said that the mixed in amounts are not
> significant enough to affect the "carbon status" of the inks.  Paul
> Roark recently expressed similar concerns (see msg #43963, 4/16/04).
>
> 
> My own tests give me doubts about pigments.  I have a Septone print
> (multi-tone gray scale inks) on my windowsill that began showing signs
> of fading at 125 days.  Right beside it is an Eboni BO print (both on
> PhotoRag) that is over 150 days now with no signs of fading.   Of
> course that's an unfair torture test (bright daylight and a small
> amount of direct sunlight every day), but it nevertheless shows a
> difference in the inks.  I plan to do a windowsill test on a UT7 print
> when it's available.
>