1 Million+ Toning Options
Using advanced “lookup tables” and sophisticated profiling technology, Piezography allows for blending and split-toning in over 1 million different ways on hundreds of different papers.
Perfect “Silver” Prints
With our new Piezography Pro gloss carbon technology and Hahnemuhle Gloss Baryta paper, we can now create a B&W print that can stand side-by-side with a silver print on the wall.
Piezography is a revolutionary fine-art ink system made out of poly-encapsulated carbon particles that reflect and diffract light in very unique ways. Prints made with Piezography ink have a special tonal “depth” that is hard to explain verbally but when people see a print, they get it. Piezography ink also makes possible the finest digital negative process in the world: PiezoDN. Piezography enables fine glossy prints, rich matte prints, split-toning, hue blending, and more. With the industry’s best matte dMax, highest resolving fidelity, visually balanced toning options, and most uniform gloss, Piezography is a very flexible monochrome printing system that is geared towards artists. Piezography is a proven technology that has been in continuous developement for over two decades and is used all over the world by artists and commercial labs. We invented Piezography at Cone Editions Press and when you print with us you are literally working with the people who invented and actually currently make the ink.
Advantages of Printing with Piezography B&W Inks
True Carbon Ink Longevity
Zero Metamerism and Color Shift
Greater Shadow & Highlight Detail
Split Toning & Custom Ink Options
3x the Resolution of Competing Technologies
No Bronzing or Gloss Differential
Industry-leading Matte Black dMax (1.84!)
A True Silver Print Replication!
Proven in the Field for Over 20 Years
TONING & ICCS
Piezography comes in many different color hues, blends, and splits. These pigment colors are built into the carbon monochrome ink itself and are not added with cyan, magenta, or yellow color dots. This gives the Piezography print a unique depth and feel that is totally un-achievable by normal printing processes. With our new Piezography Pro ink we’ve gone one step further and added two ink sets into one printer. On one side we have a strong warm and on the other side we have a cool neutral. Then we can mathematically mix and match these two inksets on-the-fly when we print. The maintains that legandary look-and-feel of Piezography (no color dots!) while giving us unlimited flexibility to target specific hues into specific parts of the image. The image below shows a Piezographt Pro curve that is cool in the shadows and warm in the highlights. It’s for gloss paper (there is gloss optimizer that prints all the way through the white of the paper shown by the gray line rising on the right).
There are billions of different hue combinations to choose from and we can make this happen when Photographers visit us for production in the lab, but to simplify things we’ve come up with a standard list of toning options to choose from. They are listed below along with ICCs that can be used to preview the ink on your own image in Photoshop.
AVAILABLE HUES (PIEZOGRAPHY PRO INK):
AVAILABLE BLENDS (PIEZOGRAPHY PRO INK):
AVAILABLE SPLITS (PIEZOGRAPHY PRO INK):
Ink: Piezography Pro
Name: Warm Highlights, Cool Shadows
Highlights: 20% Neutral & 80% Warm
Midtones: 50% Cool & 50% Warm
Shadows: 30% Cool & 70% Neutral
Soft Proof ICC: Download Here
AVAILABLE HUES (K7 LEGACY INK):
RESOLUTION & TONAL FIDELITY
Because you get rid of all color inks when you convert a printer to Piezography and then replace those color inks with intermediate shades of grey ink, the physical amount of nozzles that get fired to make an individual section of print is dramatically more. Whenever you have more dots and whenever those dots are closer together, you get increased resolution. Piezography re-creates the fine hair-line resolution you get from contact-printing in the darkroom. Combine the quality of modern CMOS digital cameras and Piezography and you get the ultimate monochrome print. Cone Editions is the lab that invented the system and we have some unique tools that we’ve built in-house that allow the ULTIMATE achievable resolution and tonal fidelity.
We printed a portrait on one of the hardest gloss papers to print correctly: Harman Gloss FB Neutral (now going by the name Hahnemuhle Photo Gloss Baryta). We printed with a brand-new Epson SureColor P800 (above on the left) with Epson UltrachromeHD inks installed. Then we did a print on a much older Stylus Pro 3880 with our new Piezography Pro inks installed (above on the right). The visual results speak for themselves. There is no gloss and color difference between the inks and the paper white. When we print Piezography on gloss baryta paper, the result is a true wet-process air-dried silver print look and feel!
dMax (blackness of black)
Using state-of-the-art technology, Cone Editions Press and Vermont Photo Inkjet came up with the darkest 100% archival carbon ink on the planet. This exclusive matte black ink is 10% darker than the nearest competitor (HP Matte Black) and nearly 25% darker than Epson’s newest MK-HD ink in their SureColor printer line. What makes Cone Editions unique is that we are a “full-stack” fine art printing lab. That means, we fully integrate technology from the carbon particle to the final print (in its package) and everything in-between.
Our new UltraHD-MK ink reaches a dMax of between 1.79 and 1.85 depending upon the paper chosen. For those who don’t know what those numbers mean, translation: “this ink is super dark.” The value of a dark matte black ink is richer photos that work under a variety of lighting conditions without reflection. When properly lit, this ink will get darker than a gloss print!
CONE EDITIONS PRESS
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Cone Editions Press, PO Box 51, East Topsham, Vermont 05076
PACKAGES & STUDIO
Cone Editions Press, 17 Powder Spring Road, East Topsham, Vermont 05076