Digital BW, The Print

Roger, 

I think you can probably get closer than you think to the BO tone
without doing much driver color manipulation but working with the same
mix of carts Clayton is recommending in his article.  I've been
experimenting over the last week or so and have come very close
without degrading the ramp.  That is not to say that the "ICC
approach" doesn't offer more control as Paul explains in his response,
only that in the interim you can probably acheive what you are after
without much work.

Brian
http://www.brianchapmanphotography.com

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Roger"
<rsmith02@...> wrote:
>
> I use an R220 with the MIS UT-R2 neutral ink set primarily on Innova 
> 315 Smooth Cotton and Dourian Art (Photorag clone) papers.  I've 
> found myself using black only more and more simply because I like 
> the warmer tone for some of my images.  I am interested in the UT-3D 
> inkset, but not ready to commit to it until more profiles are made, 
> and not sure Clayton's driver control method is a step forward from 
> the ICC approach I use now.
> 
> I saw Paul Roark recommends using a warm yellow cart to slightly 
> warm up the neutral set, but this doesn't make a whole lot of 
> difference in my experience.  I'd like to split the difference 
> between the neutral and warm set.  If I bought a warm yellow bottle 
> and used it in say the LM and Y places, would that get me close to 
> halfway to the warm inkset?  Any recommendations as to what might 
> look good while minimizine strange shifts in toning from cool to 
> warm?  I thought I'd ask before blindly experimenting.
> 
> Also, I've given up trying to get the Epson semi-matte to work on 
> the R220.  If anyone wants 200 4x6 sheets or so for proofing, it's 
> yours for $20 + shipping, or best offer.
> 
> Thanks!
> Roger
>