Digital BW, The Print

I thought some might like to see what the glossy carbons can do on Arches watercolor paper. The bottom line is that for Arches, the glossy carbon is arguably doing a better job than Eboni-6. Go to http://www.paulroark.com/BW-Info/GCVT-Arches-Carbon.pdf to see a scan of a 100% carbon pigment print on Arches.

My "carbon on cotton" printing and paradigm is alive and well with this glossy inkset.

Paul

PaulRoark.com -- Paul Roark's Photographic Home

Nice to hear these results - can you post a link to a scanned image file as opposed to a test strip.  Maybe a print of the Northlight Images B&W test image?

Mike Brubaker

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On Wed, 8/10/16, roark.paul@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:

 Subject: [Digital BW] Glossy Carbon Variable Tone inkset -- 100% carbon on Arches
 To: DigitalBlackandWhiteThePrint@yahoogroups.com
 Date: Wednesday, August 10, 2016, 12:43 PM
 
 
  
 
 
 
   
 
 
     
       
       
       I thought some might like to see what
 the glossy carbons can do on Arches watercolor paper.  The
 bottom line is that for Arches, the glossy carbon is
 arguably doing a better job than Eboni-6.  Go to http://www.paulroark.com/BW-Info/GCVT-Arches-Carbon.pdf to
 see a scan of a 100% carbon pigment print on
 Arches.
 My "carbon on
 cotton" printing and paradigm is alive and well with
 this glossy inkset.
 PaulPaulRoark.com -- Paul
 Roark's Photographic Home   
   
         
     PaulRoark.com
 -- Paul Roark's Photographic Home   Paul
 Roark Black and White Photography   
  
   
 
 
 View on www.PaulRoark.com 
      
 
 Preview by Yahoo    
   
 
     
      
 
     
     
 
 
 
 #yiv5068289655 #yiv5068289655 --

Thanks Paul - it looks pretty good to me.  It will be nice to be able to print matte and glossy from the same ink.

Mike Brubaker

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On Thu, 8/11/16, Paul Roark roark.paul@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@...m> wrote:

 Subject: Re: [Digital BW] Glossy Carbon Variable Tone inkset -- 100% carbon on Arches
 To: "DigitalB&WPrint" <DigitalBlackandWhiteThePrint@yahoogroups.com>
 Date: Thursday, August 11, 2016, 6:58 PM
 
 
  
 
 
 
   
 
 
     
       
       
       Mike,
 This is a 300 dpi RGB scan of the
 Northern Light test image:
 http://www.paulroark.com/BW-Info/NorthernLight-Arches-GCVT.jpg
 
 The print was on a letter
 size piece of Arches, using the "dB3, v.2"
 profile, which has a total delta B from paper base to max.
 Lab B of about 3.5.  
 (So, this is not the dB2
 profile shown, but that on letter size that one is a bit of
 a stretch for that target.  The black (MK) dithering and
 paper patterns in the midtones are going to interact with
 the gradients and leave artifacts.)
 Keep in mind that I am
 targeting Arches full sheets -- 22 x 30 inches.  So, on
 this letter size, unsharpened (cheap) flatbed scan,
 you'll see a lot more impact on the image from the
 medium than I would someone looking at a large print.
  (You'll also see dust on my scanner.)
 The image was gray gamma
 2.2.  So, in printing I applied my conversion curve.  This
 compresses the dark end.  While the flatbed didn't
 separate the bottom row of Keith's 51-steps very well,
 my spectro does, and the dark end will get a bit darker as
 the MK cures overnight.  That is, there is appropriate
 separation there even if the scan does not show
 it.
 BTW, I use the dB3 carbon
 core for what I consider the best Neutral profile, not the
 dB2 core. But for many images, where someone wants the most
 archival full sheet Arches print, the dB2 carbon profile can
 do a very good job.
 FWIW
 Paulwww.PaulRoark.com 
 
 
 
     
      
 
     
     
 
 
 
 #yiv9262909737 #yiv9262909737 --

FYI, this ink is not built for existing QuadtoneRIP Piezography K6 and K7 curves. The newer (upcoming) Pro curves have a very different architecture that enables the very high-dmax with this ink where-as if you simply put this ink in an existing K7 inkset you will not automatically see a higher dMax on gloss papers.

best,
Walker

> On Aug 12, 2016, at 1:04 PM, kenleegallery@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:
> 
> Found it: http://shop.inkjetmall.com/Shop-By-Ink/ConeColor-HDR/ <http://shop.inkjetmall.com/Shop-By-Ink/ConeColor-HDR/>
>

I don't see the connection between a Piezography product announcement and Paul’s original post about Arches and glossy carbon.

Sorry for any confusion the similar thread subjects may have caused. They are different inks. Our new high density gloss ink at InkjetMall is entirely different than MIS gloss. FYI: We make and manufacture our own inks instead of acting as re-sellers with third party R&D. We keep it in-house tesla-style.

While it is not designed to be good on matte papers (Paul’s thread) it exceeds all other inks on gloss papers (what is was built for) with a dMax of over 2.6 while (at that ink load) having better gloss properties than leading OEMs and all other third party inks based on currently published data.

In my original post I mentioned a 1.6+ L* value. This is entirely different than a dMax. (1.6 dMax is roughly L*17)

This L* of 1.6+ in a gloss photo black ink is un-heard of. In all my years of printmaking for artists I’ve never seen it and now we have it working in our proving grounds. Current Epson promos are talking about 2 to 4 L* for their new inks . . .

It’s such a dark black on gloss prints that we are seeing the opposite problem that most people have with matte printing. The contrast of the print is way beyond the contrast of a calibrated monitor (above 1:300). We are having to figure out ways to build Piezography Pro curves that compensate for a print that is more contrasty than a standard calibrated fine-art monitor!

cheers,
Walker

> On Aug 13, 2016, at 1:07 PM, mccarvill@... [DigitalBlackandWhiteThePrint] <DigitalBlackandWhiteThePrint@yahoogroups.com> wrote:
> 
> 
> I don't see the connection between a Piezography product announcement and Paul’s original post about Arches and glossy carbon.
> 
> 
>

On 18/08/2016 12:46 AM, michael3442@... 
[DigitalBlackandWhiteThePrint] wrote:
>
> Walter, I asked you to clarify the manufacture and development of the
> Cone inks. Your response seems a bit unwarranted. As I said, I do not
> have a problem with the inks being manufactured in China. And it seems
> entirely appropriate that Jon Cone would consult closely with the
> manufacturer to arrive at precisely the formulation he desires. Buying
> the resulting inks in bulk and repackaging them for the end user is also
> an appropriate business activity. The Cone inks are highly regarded in
> fine art photography and we all have much to be grateful for as a result
> of Jon Cone's dedication to arriving at such excellent products. I hope
> that you will reconsider leaving this forum and continue to share news
> and information about this highly respected and important product line.

Well said, Michael. I did not read any malice in your questions about 
the source of IJM inks.

Perhaps Walter got out of bed on the wrong side that day -- it can 
happen to any of us from time to time. I hope he will continue to 
contribute to this mailing list. I have been on this list since 2001 and 
have always appreciated the quality of the discussion here.

-- 

Peter Marquis-Kyle
www.marquis-kyle.com.au