Digital BW, The Print

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

Dear Louis,

You can do this easily via QTR with either the OEM or MIS inks.

John

2008/12/4 Louis de Stoutz <loudest@...>

>   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
>  
>



-- 
John Beeching
http://johnbeeching.com/


[Non-text portions of this message have been removed]

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


  


[Non-text portions of this message have been removed]

Louis,

There is a myth that Carbon is this material that can not be altered,
and always remains warm brown. Certainly for many pigment ink
manufacturers that is a limiting factor, when they depend upon pigment
suppliers.

But, carbon is a pigment which can be altered at the molecular level
without decreasing its fade resistance. In some cases it is actually
increased. Also, it can be shaped differently to reflect back
different light so as to make it appear less brown. These are the two
approaches that Piezography takes when formulating ink with carbon.

Piezography has actual split-tone carbon ink sets that use one
Piezography curve in QTR. Piezography Special Edition is three splits
using one Piezography curve in QTR. These ink sets have either six or
seven actual shades of ink from light to dark so is intended for very
high standard printing with one curve, rather than an ink set of only
3-4 shades which are combined with another 3 shades to vary from warm
to cool - and therefore use two curves. Piezography always offers more
shades for better resolution, tonal latitude, and highlight/shadow
detail. It is an approach that may not make a difference if you do not
need that level of quality. However, the split toning might interest
you because it does not rely on using warm/cool color pigments mixed
via curves with carbon. It is more a purist solution to the problem.

We also offer a traditional SplitTone™ of Neutral/Sepia, Sepia/Selenium.

But Piezography Special Edition has the most contrast because the
highlights are allowed to remain neutral, while the colder selenium
tones head towards strong sepia. The contrast is purely a visual
phenomena. 

These inks are available for a lot of printers and you can see if
yours is supported at the following link:

http://shopping.netsuite.com/s.nl/c.362672/sc.15/category.1238/.f

I mostly monitor the Piezography users list at:
http://tech.groups.yahoo.com/group/piezography3000/

But will check back in case you have other questions.

Best regards,

Jon Cone
Piezography
InkjetMall




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Louis de Stoutz
<loudest@...> wrote:
>
> 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
>