The difference was much more apparent a few years ago, most of the B&W prints from the factory inks looked horrible.
Originally Posted by Andrew O'Neill
The difference was much more apparent a few years ago, most of the B&W prints from the factory inks looked horrible.
We don't call them the same thing, but as Tim points out, the art marketplace doesn't seem to assign value to contemporary work based on process. So whatever they're called, they might end up worth the same thing.
I think they're pretty special. They look better than any other monochrome ink prints that I've seen.
There's a learning curve with them, and some of that is techical ... getting the printer / ink / paper combination linearized, and the monitor properly calibrated for the process, etc..
But the support from the piezo people in getting all of this set up is excellent. And once you're set up, the prints can be gorgeous in a really unique way. They're also probably the most stable inks available.
It's true that epson has closed the gap quite a bit with their factory inks, but i don't think they're going to close it all the way anytime soon.
I agree with Paul, (though I do not currently use PZ inks I am planning on converting my 4000 when I upgrade to a new printer), the opportunities for using multiple shades of grey to black ink offer smooth tonal gradations that others can't. For a real comparison print the best image you can from one of your files and then have someone do the same from PZ inks. I think the doifference will be apparent.
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
That is not entirely true. Value is determined primarily by the reputation/fame of the artist. However, if you were to look at the market price of prints of different processes by the same artist you might come to a different conclusion. Several years ago I looked at the selling price of a number of prints by Joseph Sudek that included both silver and pigment prints (carbro). Selling price for the carbro prints was significantly higher than the silver prints, with the exception of a few of Sudek's very famous images which were not made in pigment. I think you would find the same is true for many photographers who print in both silver and pt./pd. They expect and get more for their pt/pd prints than the silver ones. This may not be true for everyone but is certainly true for many photographers I know who have printed in both silver and pt./pd. Or you might compare market price of inkjet prints and silver prints by the same photographer. Clyde Butcher's price for silver prints of the same size is considerbly more than for inkjet prints, or at least that was certainly the case a couple of years ago when I looked at his prices.
So IMO process does play a role in value in the marketplace, though for sure it is far less important than the reputation of the artist if these are the only variables.
Sandy King
To me the market defies rational analysis. When guaranteed to fade c prints are going for millions of dollars, process seems to be largely irrelevant at the upper levels of the market.
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
In fact, it seems very rational to me. At the uper levels of the market folks are usually investing/collecting in the reputation of the artist, or perhaps investing/collecting in a highly unique vintage print. So who cares if the C print or the vintage print fades? They will still maintain their value for the investor/collector. The only situation where process might count for value would be with prints by the same artist, or for a collector interested specifically in process.
Sandy
The difference will be apparent, but which is 'best' will be a matter of personal taste. If you prefer deep blacks and a long density range (and hence a wider range of tones), then you might prefer an ink that can print on glossy paper.
Best,
Helen
Tim and I are specifically talking about contemporary work. With vintage work, all kinds of connoisseurship regarding printing process and date come into play. But I don't think any of us is old enough to be selling work on the vintage market (a good thing, right?)
Very true. the piezo process looks more like other matte finish processes than like gelatin silver. Unless it's coated or put behind glass.
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