Digital BW, The Print

Josh,

Yes, I'm using IJC/OPM. I started my trials with just the black inks.
These produce slightly warm images that remind me of good old Agfa
Record Rapid, which I rather liked (and still have plenty of). When I
measured the departure from neutral, I realised that a mixture of LC
and R800 blue would be good for neutralising. I also have an R800, by
the way, so I'm familiar with the spectral characteristics of the R800
inks.

Meanwhile, I decided to test all the inks I had as image toners - I
mean toners in the traditional wet darkroom sense. So I tried magenta,
cyan, red and blue as toners with the black inks. I most liked the
warmth of the red toner and the coolth of the blue toner - probably
because magenta and cyan casts are reminiscent of bad inkjet B&W.

Though my own work does not suit anything other than fairly plain
printing, I like to have options for the people I print for.

So that's how I came to LC, R and B as the colour inks. The Krystal
Topkote is my latest experiment.

Best,
Helen

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "joshhackney"
<joshhackney@g...> wrote:
>
> Helen,
> 
> Thanks for your post.  I assume you are using QTR, or another RIP. 
Could you explain 
> how/why you arrived at your decision to use K3/LC, R800/blue, and
R800/red?  I'm 
> curious why you went with the blue and red rather than LM.  I assume
Krystal Topkote is a 
> gloss optimizer.  
> 
> Thanks!
> 
> Josh
>  
> 
> 
> Message: 20
>    Date: Thu, 12 Jan 2006 17:19:31 -0000
>    From: "helen_bach2003" <helenbach@h...>
> Subject: Re: Crane Museo Silver Rag/beta testing
> 
> John,
> 
> At least someone is paying attention. I've mentioned this a few times
> in the past, with little response. I use K3 inks in a 2200: MK,
> K3/PK, K3/LK, K3/LLK, K3/LC, R800/blue, and swap between R800/red and
> Krystal Topkote. I get the MK and the K3 inks from 110 ml carts.
> 
> It works for me.
> 
> Best,
> Helen
>