Digital BW, The Print

My "holy grail" in my darkroom days was a French bromide enlarging paper (no longer available) toned in dilute selenium.  I currently use an R1800 3MK setup with Museo II paper for a "natural white" (slightly warmish) tone.  I really like the 3MK results, but have two questions:

1)	To achieve a truly sepia warm when desired, can I use a 3PK setup in my R1800 along with a suitable baryta type glossy paper?

2)	How do I produce a tone similar to dilute selenium with a minimal use of color pigments?

Thanks
  George Ingram


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark" <roark.paul@...> wrote:
>
> David Kachel <david@> wrote:
> >
> > 
> >...
> 
> > Please remember that not ALL of us view "neutral" as a holy grail. Some of us would prefer very warm inks that so far do not exist.
> 
> 
> A warm, what I think of as low gamut sepia print with a 
> Lab B of about 14 is easy with MIS LK (and it's other glossy carbon K4 & UT inks).  That's as far as I've been able to get with the 100% carbon inks I've tested.  The old photo at http://www.paulroark.com/BW-Info/Carbon-Print-Tones.pdf is an example.
> 
> The MIS LK and Cone sepia hit about Lab B = 8 on HPR.  Aardenburg Imaging fade tests -- 
> http://www.aardenburg-imaging.com/acceleratedagingtests.html -- provide the Lab values for the ink-paper combos tested.
> 
> When I look through the old photo books, I see a wide range of image tones.  When I made the sepia toner for the UT2 & 7, I targeted a darker sepia, it could then be mixed down with the MIS carbon.  The sepia toner I made was mostly yellow and magenta -- not very stable.  But I could reach a warmth that had a Lab B of about 25 (for a while).
> 
> I think the best current approach to darker sepia tones might be done with one of the orange HP or Epson pigments.  It may need to be combined with another color pigment to hit the values you want.  It one does have to use more than a single color ink, keeping the hue of the inks as close to the target as possible minimizes the wobble in tone as the inks fade and the image moves toward the carbon tone.
> 
> I decided the warm LK on glossy paper was a better route.  It's warm enough for me.  I'm curious how all the new types of glossy papers look when printed with the glossy carbon inks.  I think Hahnemuhle makes a non-OBA baryta paper that would be interesting to try with 100% warm carbon.
> 
> Maybe carbon nanotube pigments will be warmer yet -- a darker sepia.  I do hope they come down in price enough to start testing them seriously.  What the heck, I might even be willing to use the seconds from the higher tech uses for these products.  If they are successful as part of the solar thin film industry there may be enough inkjet grade nanotube pigments to supply us.  
> 
> Paul
> www.PaulRoark.com
>