Chromalife 100+ inks in old 100 carts?

[peter D]

Thanks Paul.
Most of my papers are Canon (Pro Platinum, Pro Lustre, Glossy II, Fine Art Museum) but I also like Ilford Smooth Fine Art and for longer life prints I have some A4 HP gloss swellable which is pretty much extinct in New Zealand now.
Also keen to try the new Canon heavier weight matte they've released.
With the Pro-100 using Ilford Smooth Fine Art is possible (if you are prepared to patiently tweek the colours) to get a dead ringer of a real water colour painting.

 

[Paul Verizzo]

Thanks Paul.
Most of my papers are Canon (Pro Platinum, Pro Lustre, Glossy II, Fine Art Museum) but I also like Ilford Smooth Fine Art and for longer life prints I have some A4 HP gloss swellable which is pretty much extinct in New Zealand now.
Also keen to try the new Canon heavier weight matte they've released.
With the Pro-100 using Ilford Smooth Fine Art is possible (if you are prepared to patiently tweek the colours) to get a dead ringer of a real water colour painting.

Of course there's no more Ilford inkjet papers, you know. Folded and bankrupt almost two years ago. Does not impact Harman, the parent company of the Ilford wet darkroom products.

Have you ever used the "Pattern Print" that''s in the Pro line of printer software? What we used to call a "ring around." I've called it the Poor Boy's Profiling system. It makes a print with a number of C,Y,and M variations around the unchanged middle image. You can select Small, Medium, or Large changes per image. It nicely prints those changes under each little image and on the paper, the paper setting used and some other info.

There is also the Contrast/Brightness Pattern Print, linear instead of circular. Just remember that with Canon, Brightness could mean just that, or it can mean Intensity, which is more properly called Saturation. The B/C Pattern Print is really S/C. Nevertheless, handy.

 

[ThrillaMozilla]

Ozone, regardless of anything else, constitutes .6% of the atmosphere, nothing to be done about it.

Oh, no. A natural level would be a few parts per billion. The concentration in a city might register 50 to 100 parts per billion. That's 0.000005 to 0.00001%. A concentration of 500 parts per billion (0.5 parts per million) would trigger a smog alert in Los Angeles. A concentration of 50 parts per million (ppm) would probably be fatal in an hour. That's 0.005%. There's good information on this all over the Web. Here's one convenient source: http://www.ozoneservices.com/articles/007.htm .

I live in New Zealand and close to a surf beach (max 300 metres distant) which means that the ozone content in the air is high...

Sea air doesn't smell anything like ozone, and I never heard the idea before. So I checked up on it, and one scientific research group is studying absorption of ozone by the sea. I'll going to guess that sea air you are smelling has about the lowest ozone content anywhere on the planet.

According to the Interwebs, what you are smelling is dimethyl sulfide. And no, I don't know what it does to ink, but without information to the contrary, I have no particular reason to believe it makes it fade. However, if your prints get grimy with gunk from the sea or from any source, that can't be good.

 

[Paul Verizzo]

Oops. I had the right number, .6. Just had the wrong measuring criteria. TNX for the correction. Now I'll probably remember it when I come down with Alzheimer's. Or maybe it will just be worse than the present?

 

[peter D]

ThrillaMozzila said
"Sea air doesn't smell anything like ozone, and I never heard the idea before. So I checked up on it, and one scientific research group is studying absorption of ozone by the sea. I'll going to guess that sea air you are smelling has about the lowest ozone content anywhere on the planet.

According to the Interwebs, what you are smelling is dimethyl sulfide. And no, I don't know what it does to ink, but without information to the contrary, I have no particular reason to believe it makes it fade. However, if your prints get grimy with gunk from the sea or from any source, that can't be good."

My memory playing tricks on me (again) I seem to remember it was (and may still be) that the surf breaking created negative ions (not ozone) and helped reduced the claimed harmful effects (on humans) of excess positive ions in the atmosphere.
I suspect that the effect I'm getting with my exposed prints is down to salt in the aerosols transported on the on shore wind which blows here when the land heats up. You can actually see the moisture clouds rolling in when the light is at the right angle during the so called "golden hour". That would explain why only those left uncovered (under glass etc) suffer from fast fading.

 

[berttheghost]

@peter D ,
Do you live close to the Taupo Volcanic Zone? Your fading problem might be due to sulfur dioxide or other volcanic gases.
I see pigment inks in your future ...

 

[ThrillaMozilla]

Peter D, that's interesting. I think you're onto something.

I've also experienced severe fading in a nice, clean, fairly unpolluted living room 1500 miles from the coast, sealed in a CD jewel case. Streaking indicated that it was light, and very dim light at that. I thought the culprit was UV, but I'm not sure yet.

 

[peter D]

@berttheghost
No, I'm nowhere near the Roturua/Taupo volcanic zone as I'm resident in the Bay of Plenty about 270 metres from the surf line of Waihi Beach, which accounts for the salt film build up on my house windows. This salt laden air is what I suspect might be causing my fading problem with dye inks as the ones under glass even without sealing tape on the rear of the frame are fade free to my eye at the moment.
I did get something that looked like streaking type fade on a large print made on Ilford Gallerie Smooth Fine Art paper that was stored in a box constructed of phenol glue based cabinet making board and I'd like to know what happened there but haven't investigated further yet. I've done test prints for friends on this paper and I'm still awaiting feedback on any fading issues that might arise.

 

[peter D]

@Paul Verrizo
I'm sorry I've not replied so far to your question about using pattern printing to get a Poor Boy's proofing for colours etc.
The answer is I've used it once for a friend who wanted to print on the extra heavy Canon Museum Etching Fine Art paper. Because this paper has to be fed into a manual feed slot on the Canon Pro 100 you can only print the larger sizes for test purposes. Letter size is about the smallest from memory or maybe it's A4.
With this limitation it certainly saves paper using the pattern print function as you point out.