Precisely, Ron. The point is, that folks making advanced pigments don't have any real incentive to make process
colors. I'm sure I could take something already available in industrial scale and turn out a reasonably balanced
carbon print, probably just as good as any pigment set currently being used, but not anywhere near the hypothetical ideal. A co-worker of mine invested in metal pigments early on, got nervous, so sold his shares off
early. He still made enought to put his kids thru college; but then the technology took off big scale and he realized he could have retired on it if he had waited another year or two! There is also for remarkable pigment
work developed in Europe. None of this has anything to do with inkjet needs. I'm talking about primary pigments,
not lakes or tiny dyed particles. The permanence potential with problems from preservatives or glycols is out
there. I just don't have any time at the moment to experiment. I need to get my inventory of more ordinary color
prints built up again before I can fool around with either dye transfer printing or something wholly experimental.
Another area where fresh thinking could begin regards actual tissue sensitization with involve neither dichromates nor diazo technique. That can be found in medical patents related to gelatin and collagen. But so
far, everything I've encountered looks either too complex or too toxic to recommend to any home darkroom worker. It would take a trained chemist with appropriate professional facilities. And absolutely none of this would
have any realistic profit potential. Nobody cares what a carbon print is nowadays other than another printmaker.