Jon Cone-DSCN0211

Photographer:  Jon Cone Title:DSCN0211 Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot with inexpensive...Read more

Jon Cone-DSCN0157

Photographer:  Jon Cone Title:DSCN0157 Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot with inexpensive...Read more

Jon Cone-DSCN0165

Photographer:  Jon Cone Title:DSCN0165 Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot with inexpensive...Read more

Jon Cone-DSCN0149 Self Portrait

Photographer:  Jon Cone Title:DSCN0149, Banff Self Portrait Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot...Read more

Jon Cone-DSCN0148

Photographer:  Jon Cone Title:DSCN0148, Banff Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot with...Read more

Jon Cone-DSCN0145

Photographer:  Jon Cone Title:DSCN0145, Banff Year: 2000 Part of the Banff Series made in 2000 with a Nikon Coolpix 990 camera. 2048 x 1536 pixels created an abundance of resolution for small prints. The twisting viewfinder permitted the camera to be held and imaged with like a twin-lens reflex. There was an information palette that could be used in order to make observations concerning exposure and dynamic range. “My choice as a photographer has always been to print small images that can be viewed and held in one’s attunement. As a result, I’ve been able to shoot with...Read more

On new papers and coating observations

A recent comment on the popular Digital BW, The Print discussion list left me scratching my head yesterday…a little in disbelief at the responses to what seemed like a very benign observation by a monochromatic ink user. I suppose too, that I was confused how some black & white printmakers had missed the obviousness of the topic. Instead, they were conjecturing the most unusual of hypothesis to explain something that Piezography users have taken advantage of since the inception of PiezographyBW ICC in 2003. For background to this, a long time Piezography printmaker whom I believe to...Read more

On new papers and coating observations part 2

The strange thing about all this is that in 2005, Piezography Neutral K7 was released as a multi-toning ink system. But, instead of using color inks, it utilized the tone of the paper in order to arrive at a final color tone of the black & white print. It was able to achieve multi-toning through superior pigment technologies that combined to promote a pigment that utilizes light in a novel way. This is of course at the heart of the discussion that opened up on the Digital BW, The Print users list, and where I was heading to by means of explanation in part 1 of this opine. The Piezography...Read more

On new papers and coating observations part 3

The one ink that most magnifies the effect of choosing a different coating/paper in order to control final color tone is Piezography Selenium K7. This ink was introduced to be glossy compatible. While all of the other third-party ink brands have used resin as an ink base to improve glossy adhesion, we developed an alternative triple-encapsulation of polyester. By producing three actual physical encapsulations of the pigment particle, we not only produced our first glossy compatible ink, we also magnified the phenomena that befuddled several of the Digital BW, The Print users, and is the topic...Read more

Piezography Color?

So what happens when you mix Piezography and Epson color inks together in the same printer? Piezography Color! According to Walker Blackwell, a color management expert and Piezographer extraordinaire, Piezography Selenium inks can be substituted into the EPSON color ink set in place of the EPSON blacks in order to improve the printing of neutrals in color images: “I would also note that for anyone using a RIP (say Colorburst) and not using Epson’s default screening (Epson’s default screening will add color ink overlay into the neutral to compensate for the brown/green K ink...Read more