Digital BW, The Print

I'm new to this group but starting to follow this discussion pending  
some purchase decisions. It seems to me that if there are apparent  
color shifts even remotely that rapidly in the "neutral" Epson K2 or  
K3 inks, that it's necessarily the case that there are shifts in the  
remaining color pigment inks as well. Thus, with the Cone Color inks  
the statement that they are 100% pigment vs. presumably partial dye  
content in the Epson inks could be crucial, all else being equal (if  
it ever is!). Is this consistent with any other's experience?

Jerry D.



On Apr 10, 2009, at 10:25 AM, john dean wrote:

>
>
> I've actually seen these Ultrachrome K2 black and white prints  
> shift within the span of a week in an exhibition where fairly  
> bright daylight was present. Not ultra bright, but a bit over 450  
> lux. I'm not kidding and they were framed behind glass. It was a  
> big embarrassment for the photographer. I'm glad I didn't print  
> them. But I did spray ALL the Ultrachrome prints I did at that time  
> with with a uv coating and always used QTR to reduce the color  
> content. But it is always there to some degree when you are dealing  
> with brown "gray" inks and trying to achieve neutral color in the  
> whole range.
>
> I have also seen tests I've had around for a few years on a  
> bulletin board shift, usually toward cyan as the light magenta  
> goes, or toward blue. No chemicals or pollution in my studio. Of  
> course these were not behind glass, or sprayed, but to me that  
> shouldn't be necessary.
>
> john
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
> <jon@...> wrote:
> >
> > David,
> >
> > Mayhaps not, but I would not suspect that you would notice any  
> changes in your work in 5 years. But, it's not black and white like  
> you are trying to make it either. (pun intended). The threat is  
> relative to the intent of the photographer and the perceived value  
> of their work. For others it doesn't really matter two pickles.
>
>
> 



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