Baryta vs non-baryta inkjet papers: archival stability??

[Ed Richards]

What I really meant was that generally artist have left longevity up to the curators and collectors - it is interesting that this is now a topic for artists. I think the current stuff is good enough to not worry about - since collectors were willing to buy type C prints, there should few questions about current inkjet stuff.

[bob carnie]

I print on ink and silver both from digital files.

The silver prints go through all the steps dev, stop, fix , fix, hypo clear wash.
After these steps we also sepia for highlights and selenium for shadows.
This process is the same as any traditional fibre print of the past made on enlarger.

With Black and White Output.
Our position is that if the work is for gallery walls and eventual sale to collectors/buyers of prints we will go the silver route and print either from the digital files or work from original neg with enlargers.
If the work has commercial applications or is not being resold to collectors/buyers we will consider ink which is a much more simple process to put through our shop.

Visually both processes can be adjusted to look exactly the same.

With Colour Output

We have no preference between ink and RA4, they both seem to have devotees for their particular look.
We are now in the process of separating colour images into CMYk black and white negatives to be registered back together and will be printing colour gum for some of out colour workers who are concerned about the longevity of ink or RA4.
The learning curve is extremely steep as we are working with old and new methods to come up with a look that will satisfy me. Trying to tie up all the loose ends to have a ongoing predictable stable process is difficult to do and still keep my business afloat in these economic times.

Keith Carter is doing this in the mid west on gum, and Todd Ganger from Seattle is doing this with carbon, both workers are getting amazing results.

[Bob McCarthy]

I print on ink and silver both from digital files.

The silver prints go through all the steps dev, stop, fix , fix, hypo clear wash.
After these steps we also sepia for highlights and selenium for shadows.
This process is the same as any traditional fibre print of the past made on enlarger.

What is the process that takes digital files to silver directly like an enlarger?

Are we talking making contact printing negatives on an printer?

bob

[percepts]

What is the process that takes digital files to silver directly like an enlarger?

Are we talking making contact printing negatives on an printer?

bob

Ilford Harmon make a digital fibre paper ( not for inkjets ) . This is a traditional fibre base paper but the silver halide emulsion has been prepared especially for use in laser printers such as Lambdas and lightjets. The output from laser can then be processed in trays in the normal way. i.e. its exactly the same as your ilford mgiv except you use a laser to expose the paper instead of your traditional enlarger.

Not cheap though...

[Steven Barall]

Jon Cone has long held that Wilhelm is way overestimating the permanence of inks and papers. It comes down to what your acceptable amount of fading is.