Piezography Carbon is proving to be a remarkable ink for use in black & white photography. This ink has the distinction of being the most lightfast ink ever tested at the Aardenburg Image Archives. It is the only ink set that is outpacing all HP, Canon and Epson inks whether used for color or the special subsets used for b&w. Piezography Carbon is literally unaffected by long-term exposure to light.

While all Piezography ink sets are designed to be long-lasting, Piezography Carbon is unique. If longevity is your most important criteria in making black & white photographic prints - then this ink appears to be your only answer. Anything else, and everything else is a compromise.

Many photographers routinely do alternative process with carbon. Carbon is amazing. You can consider it as you would silver or platinum/palladium in terms of permanence. But, it's as different from each of those as they are from each other. 

So, what does Carbon look like? It is definitely warm. It can be cooled by printing it on cooler white papers. For some reason, Canson papers turn it brown. But, Canson paper coatings uniquely affect Piezography inks in unique ways. They are definitely worth testing if only to see the unique tones they produce. I think that Hahnemuhle Photo Rag and JonCone Studio Type 2 are probably the two best papers to print it on for matte. The former with some OBA is a tad cooler then the latter without any OBA. On the other hand, the tone on Canson Edition Etching Rag is amazing. You have to find your tone that you prefer by testing on different paper whites.

Carbon inks are perfectly formulated (one shade at a time) so that the color tone *ab values are very close from shade to shade which results in a very linear, photographic warmth. It's a very precise way to express a Carbon photograph without the illusion used by color inks. It is very monochromatic (yet toned.)

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.

Piezography Carbon is proving to be a remarkable ink for use in black & white photography. This ink has the distinction of being the most lightfast ink ever tested at the Aardenburg Image Archives. It is the only ink set that is outpacing all HP, Canon and Epson inks whether used for color or the special subsets used for b&w. Piezography Carbon is literally unaffected by long-term exposure to light.

While all Piezography ink sets are designed to be long-lasting, Piezography Carbon is unique. If longevity is your most important criteria in making black & white photographic prints - then this ink appears to be your only answer. Anything else, and everything else is a compromise.

Many photographers routinely do alternative process with carbon. Carbon is amazing. You can consider it as you would silver or platinum/palladium in terms of permanence. But, it's as different from each of those as they are from each other. 

So, what does Carbon look like? It is definitely warm. It can be cooled by printing it on cooler white papers. For some reason, Canson papers turn it brown. But, Canson paper coatings uniquely affect Piezography inks in unique ways. They are definitely worth testing if only to see the unique tones they produce. I think that Hahnemuhle Photo Rag and JonCone Studio Type 2 are probably the two best papers to print it on for matte. The former with some OBA is a tad cooler then the latter without any OBA. On the other hand, the tone on Canson Edition Etching Rag is amazing. You have to find your tone that you prefer by testing on different paper whites.

Carbon inks are perfectly formulated (one shade at a time) so that the color tone *ab values are very close from shade to shade which results in a very linear, photographic warmth. It's a very precise way to express a Carbon photograph without the illusion used by color inks. It is very monochromatic (yet toned.)

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.