Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

Formally known as Sepia K7. I believe that designation ÒsepiaÓ was a psychologically limiting description in that these ultra-subtle warm carbon dilutions are in no way related to the bright red-yellow color that one may by habit associate with sepia toning and the like from darkroom days, thus the updating of the name recently to simply K7 Carbon. The recent very strict Aardenberg accelerated tests of the Piezography Carbon (Sepia) K7 shows it to be leading all the other monochrome pigment ink sets on the market today. Not only are they not showing any signs of premature fade, but they are not showing any drift in the print color either. They are the closest thing there is to a platinum-palladum print in the digital world of the pigment inkjet process. No other inkset has so many subtle light values to work with. Due to the incredibly small pigment particles, Piezography Carbon inks are also susceptible to paper whites which can be used to subtly move the inks warmer or cooler depending upon the tone of the white. Like all Piezography and ConeColor inks, this is an encapsulated pigment formulation designed to insulate the static charge of the pigment particle which prevents clogging. Only Epson and HP employ similar technology. This is the perfect black & white ink set.

PiezoFlush solution was invented and is manufactured by InkjetMall. This is an innovative solution that can be used to clean inkjet printers, flush inks from systems, or be used to safely store inkjet printers with a solution which does not promote drying out of the inkjet heads. It has been formulated for piezo inkjet heads and includes a colorizing agent so that when printing nozzle checks, the user can "see" the fluid print. It is used as an "eighth" position sometimes in Piezography K7 systems.

This is the same matte black shade 1 used for Neutral, Sepia, Selenium, Warm Neutral, Special Edition and SplitTone for matte paper printing.

The Piezography Neutral ink set is designed to be achromatic to the human visual system when printed on a very specific color of white paper. The paper we designed it on is Hahnemuhle Photo Rag.  Innova Photo Smooth Cotton White also has this same tone of white. When viewed under a full spectrum 5000k light source (this is the color of white that a standard human sees as neutral), a photograph on these two papers will appear to be neutral.

Because the inks are neutral, they will pick up the tone of any paper white and shift in that direction. The inks therefore can be made to appear warmer on warmer papers and cooler on cooler papers. A wide range of color tone is possible in this manner. The end result is a perfect marriage of ink and paper. A perfect monotone is produced.

Neutral inks can appear "flatter" to the human perception system because we are not used to looking at neutral grays. There is no darkroom equivalent - yet this remains one of our most popular inks. Neutral inks are now matte and glossy compatible. For matte use with Piezography K7 shade 1 black. For Glossy including baryta use with Piezography MPS shade 1 black and Piezography Gloss Overprint.

Like all Piezography ink sets, this ink is metamerism-free and has an encapsulated pigment particle that is unique amongst all third-party inks and is considered as non-clogging as the OEM. When printing on matte papers, the Neutral K7 Shade 1 black is used. When printing on non-matte papers (including Baryta papers), the MPS Warm Neutral Shade 1 black is used in conjunction with Piezography Gloss Overprint.

This ink set is designed to be used with the Piezography media profiles and QuadTone RIP. Please see the Instructions tab for a full explanation of its use.

You can expect to reach a dMax of 1.65 on matte papers such as JonCone Studio Type2 and Hahnemuhle Photo Rag. When glossy printing according to our directions you can reach dMax levels as high as 2.80. Piezography Glossy produces a finish in which you will not be able to tell where the inks end and the paper begins. When used as directed, it produces a uniform surface without any gloss differential nor bronzing.