Digital BW, The Print

Todd,

Yeah, I know.
(out West we have time for this kind of thing, 'yeah' ;-) )

If one were trying to get a plain or constant gray/tone then a 
monochrome set is correct.  You accept the base tone chosen by 
inkset, whether that be lamp black or another.  

I know you understand blacks come in different shades of color too.  
This is equivalent to choosing Ilford Galerie (silver) paper vs. Afga 
Portriga.  Cool vs. a warm with the warm having more latitudes it can 
render.

When people are saying they want a selenium tone look, or anything 
other than the constant tone provided by a monochrome set they will 
have to use color inks (or at least a two tone set, hence MIS VM).

___________
My question was pointing at what's in a profile, or 'space' dialogue 
box that sends the same base information (the image), to the same 
inkset, on the same paper but results in a different tone bias.  
Admittedly this would only be a color/multi tone problem.

Would it be any different to use a single 'profile' (say "Generic 
Gray or Adobe RGB 1998), leave color controls ON and use the sliders 
appropriately?
___________

Since I am finding the profiles have a consistent bias, I also find 
it possible to correct by simply adding a color screen layer which 
shifts the color the desired direction.  Those in the A3 exchange 
will have an example.

I don't give a hoot about metamerism.  All artwork in all media look 
different in different lights.  A good image will survive poor 
display conditions.

Love Frederick Sommer's quote - "Enthusiasm is the duty of 
understanding before the night fatal to remembrance"

Enthusiastically (& chatty)
Cleavis :-)

Who is working towards having color and B/W systems.