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I am running a setup almost identical to Paul's variable tone Eboni at the moment (only I have two MKs)
I also use 2 MK's. That's the only way to reach the highest dmax with Arches watercolor paper.
and the prints look amazing to me (as always, my very modest skill as a photographer being the limiting factor).
I had a bit of trouble last time I ordered from Ink Supply so I thought I would do my usual public brainstorming before launching into my next setup. Thanks for all your feedback. 'Green', doesn't sound great :)
No, greenish B&W is not something I like. I prefer the 100% carbon from MIS/Inksupply, properly toned neutral usually.
I might add, however, that for an MK or PK, adding mostly (or exclusively in smaller amounts) cyan as a toner for the carbon makes some sense because it is usually much more lightfast than magenta. Looking just at the PK, a cyan-tinted carbon will can look darker than 100% carbon PK, particularly in warm indoor lighting. (At one point I made a PK with a very high dmax using fully 40% mostly cyan toner.) When it's just in only the deep shadows, the cyan, which will give a greenish hue, is not very visible. In short, what Epson did makes sense. Their LK and LLK, however, need to be toned with more magenta to counteract the greenish hue. In a color inkset, it just becomes part of the color balancing step. Again and particularly for B&W, I'd rather just start with carbon, but if the Epson pigments were all that was available, a one-solution toner could be made to pull it neutral.
Paul