Digital BW, The Print

Louis

If you check Jon Cone's website you will see that he sells the K7 inks in
several different tones as well as in some split tone combinations.  In the
2100 you can vary the tone/split by changing cartridges depending upon what
exactly you want.  Some papers also give a subtle split tone effect due to
the combination of the paper and ink tone at different densities.

If you want to do variable split toning without changing cartridges then you
need to look at some of Paul Roark's inksets as sold by MIS.  There is a
slight loss of ultimate quality compared to the 6/7 K inksets - whether this
is acceptable given the added convenience only you can decide.

David Whistance
  -----Original Message-----
  From: DigitalBlackandWhiteThePrint@yahoogroups.com
[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of Louis de
Stoutz
  Sent: 04 December 2008 10:36
  To: DigitalBlackandWhiteThePrint@yahoogroups.com
  Subject: [Digital BW] Archival carbon and split toning


  In my darkroom days, I did some experimenting with very slight split
  toning, like e.g. warm shadows and cool lights, or cool shadows and warm
  lights.

  I would like to be able to do that in an archival quality with carbon.
  As I understand, there is no other way than to add other "things" to the
  carbon, right? If I remember well, people started out adding dyes to
  carbon inks, which doesn't sound very archival to me.

  Are there other (pigment based?) solutions on the market, that allow to
  preserve those small, but oh so important nuances over the lifetime of
  the print? Can one compose one's own mixes? Can you then control the
  whole thing in PS?

  Thanks for your educative suggestions!

  Louis de Stoutz


  


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