Inkjet - ink appearance on surface

[chris jordan]

Richard, I'm not sure about the color gamut of Fuji Crystal Archive paper versus the Epson Ultrachrome inks, but I know they are very close, and that issue is not likely to matter anyway unless your prints contain extremely highly-saturated colors (if you are photographing neon signs for example); otherwise virtually any colors that you can photograph will fall within the gamut of both processes.

One benefit of using the Chromira is that the Type C prints are easier to mount. If you like face-mounting prints on plexi, then the Chromira is the way to go-- you can't do that with the Epson prints. I also heard that Fuji has just released a new updated version of Crystal Archive paper with a brighter white point and better neutral greys. I don't know how the new paper will stack up against the Epson papers; they are both so good these days that gorgeous prints can be made from either process.

One reason that I prefer the Epson is that I own one, so I can make my own proofs and prints; if someone else were making my prints, then I would consider the Chromira as just about equally attractive, with the one exception being that the Epson prints are slightly sharper.

I still think the graniness in your Epson print is caused by oversharpening. The Epson printer is sharp enough to render the tiny grains that are caused by oversharpening; the Chromira will render those same grains with some fuzz around them, making the print look smoother. So the file is oversharpened, and when you do a side-by-side, the oversharpening is visible on the Epson print and not on the Chromira. I'm printing a 6-foot-wide print on my Epson right now that has a pale grey sky that is so smooth that it looks like spilled milk on the paper; not a single pixel or dot or grain visible anywhere.

~cj

[julian_4860]

Chris, I've just had some inkjet prints mounted to dibond and then acrylic using the same ilford paper that I used for the print of mine you have, so it is possible. Diasec is a no-no though I'm told by the lab here

[David F. Stein]

Epson, I believe, makes some glossier papers with less "ink differential." They are listed on the web site as professional proofing papers and come in rolls. The now-discontinued Glossy Professional 13 x19 did look like air-dried glossy fiber base paper-nice image quality with the 2200. Inkjetart folks recommended Ilford Smooth Pearl as next best, haven't had a chance to try yet. I think our ability to study files endlessly on the computer and the modern compulsion to hold everything to our nose sometimes overvalues the technical as opposed to the pictorial. It's like every can of corn at the supermarket needing to be perfect. Even if the label is a bit scuffed, it gets pushed aside. I also understand the reasoning—image-wise and protective—behind spray coating prints, but I feel if we have to do that, we have negated some of the environmental advantages of ink jet printing. Any of those sprays I've examined are pretty noxious. GOOD LUCK.

[neil poulsen]

I tried the Lumijet Imageshield spray and like it on glossier papers, like Ilford's smooth glossy. As others have said, it deepens the print. But, I tried it on a matt paper I bought, and it had the opposite effect. The print's colors weren't quite as rich and vibrant as they were on the uncoated print. Just a hair, but noticeable.

[matthew blais]

Kirk, I'm using a french made paste wax I bought from a guy who refinishes antiques. Beautiful on wood, so I tried it on the luster inkjets. As I said, evens the sheen out, no "bronzing", and seems to enrich the print overall. Basically rub it on with a soft cloth, and rub it off within minutes. Leave it for a day or so. I put some of these in the window that gets direct late morning-early aft. sun. The ones I put there a month ago are unchanged. That is not an archival test by all means - Is it labeled as archival or for this purpose? I doubt it but then again-it's all in French!

I am going to try the renaisaance wax and compare .

[Richard Fenner]

Thanks for the input, people. It seems fairly consistent, although obviously some people have more experience with the issue than others.

I called up the printer a short while ago, and was a bit disappointed by their response. They say very few people have commented on the bronzing issue, although they acknowledge it's inherent in the inkjet prints. In fact, they said many people don't even notice it. This surprised me.

Also, they'd never heard of 'archival protectorant' type sprays, either generally or by specific reference to Lumijet Imageshield. This also surprised me, as it's the sort of info I expected a printer to have, to help ease me into this new technology. To someone who didn't know of forums like this, the sight of bronzing with no help from the printer could be very off-putting.

I understand now what you meant by the over-sharpening, Chris, and may be contacting you to discuss the use of the spray when I get some sent over from the US. I also re-read your thread on displaying prints without glass, which was pretty useful.

Thanks all!

[tim atherton]

Richard - one of the most often used sprays is Lyson Printguard (which is very similar to, if not identical with Premier Art Pritnshield)

Lyson is a UK company based in Stockport. Try a couple of cans of that first - you won't have to re-import it that way under a different brand name...

[tim atherton]

In addition (unless ypu o the matte aper route - big colour pritns on Photo Rag or Soersrt Velvet can look gorgeous), of all the glossy/RC type papers, Epson Premium Semimatte is about the best for minimal bronzing (and as Chris says, takes the sprays very well too). I find it quite a lot better in this regard than the Lustre - even though they look very similar.

Premium Semimatte only comes in rolls. On smaller printers, Premium Semigloss is similar, but not quite the same.

The Ilford simigloss/pearl (?) paper is also nice, but probably doesn't have the same longevity