upgrading a printer and choosing a paper Part II

Update on Carson-Infinity Platine Fibre Rag: A few weeks ago http://www.shadesofpaper sent me a test roll of this new beautiful paper. I have tested it on a number of prints and can honestly say that it is a stunning paper — equal in quality to the Hahnemule Photo Rag Baryta and Ilford Gallerie Gold Fibre Silk.

As I said said earlier, the choice of paper is very personal and should be evaluated by each person based on needs, aesthetics, and their current printer and inks.

The Hahnemuhle papers were supposed to go up in price as much as 30%, depending on the paper, at the beginning of August. However, outraged customers have forced the company to suspend their decision until September. At this moment, the Hahnemuhle Photo Rag Baryta is still my paper of choice for images that require a high D-max. I also feel that it holds the saturation better than the other two papers. I have read on forums that a few people have noticed some imperfections in some rolls and sheets from Hahnemuhle. I have not had this problem (although I have had similar problems with Moab papers). However, if Hahnemuhle does decide to raise their prices significantly, then I will switch to the Canson paper, as the HPR Baryta is not that much better than the other two papers. You can find information on the new Carson paper at www.canson-infinity.com/en/platine310.asp

So for now:

For printing my Infrared images I prefer the matte Hahnemuhle Photo Rag Bright White.

For color and desaturated color images I prefer Hahnemuhle Photo Rag Baryta.

You can find these papers at www.shadesofpaper.com. Contact Eric Mateer.

Re HP Z3200 printer: Last year when I was printing my show A Nomadic Vision, I had issues with the orange/red gamut on the previous model HP Z3100, so a number of my images had to be printed on a Epson 7800, a printer that I thought I would be retiring since I was not happy with the gamut nor detail in the shadows.

After testing the newer Epson 9900 and HP Z3200 I decided to purchase the latter since HP significantly printed more details in the shadows, even though I was not convinced that they had solved the issues with the orange/red gamut. I was afraid that I would have to continue upgrading two brands of printers (not a pleasant thought). This week I completed my tests. A big sigh of relief…the updated HP Z3200 has beautiful reds and oranges. I can finally retire my Epson printers.

Again, it is a personal matter as I know many people swear by their Epson printers. However, I found that even the new Epson 9900 blocks up the blacks on Hahnemuhle Photo Rag and Hahnemuhle Photo Rag Bright white matte papers–not as badly as the Epson 7800 but still much more than the Z3100 and Z3200 HP printers.

This is just my .03 cents based on my desire for the highest quality and for my personal aesthetics and archival longevity on the papers I have chosen to presently use.

© nevada wier      Gujurat, India 2009

Fine-art Prints — upgrading a printer and choosing a new paper

I  started in photography with a Deardorf large format camera and a black & white darkroom. I loved the alchemy of watching a print emerge in a tray of liquid emitting vapors of toxic fumes. It was, and must still be, simply magic.

However, once I began color photography and realized that it was my natural affinity, I left the wet darkroom behind. Perfecting the art of exposing for the limited dynamic range of transparencies consummed me; adding the distraction of color mystified me.

Yet, I never made color prints. I hated limited range of glossy or matte papers. I despised Cibachrome and other color printing processing; not even the complicated dye transfer process held my interest. My prints were from the four-color process of magazines and books. Then Arthur Meyerson had an exhibit of digital prints in Santa Fe (I can’t remember the year) and I knew a color printing revolution was amassing.

I tried working with various  companies (Mac Holbert at Nash Editions is a genius) but realized that I needed to take control of the printing process myself. So I now have THE GRAYROOM, instead of  The Darkroom (yes, the walls are 18% gray) and my own Epson and HP printers.

I had my first major show January of 2008 at the Verve Gallery in Santa Fe (see past posts) with over 50 images printed on a Epson 7800 (24″)  and an HP Designjet 44″ Z3100 using Hahnemuhle Photo Rag Bright White paper.

This summer I am printing for a new show, tentatively titled Outer India, to be hung at the Verve Gallery July 2010. Not only do I have a new printer — HP 44″ Designjet Z3200 (I bought it instead of the Epson 9900 which did not have the shadow detail that I crave), but I wanted a new paper with a greater D-Max. I am printing images in a different style with more de-saturated colors and deeper blacks. The rag papers with matte Ink give me the feel I want but not the deep, deep black tones. Picking a paper is very personal; it has to feel and look right to whomever is printing.

I researched the current fine-art gloss papers which have a “rag” feel and picked 5 papers: Hahnemuhle Photo Rag Baryta, Ilford Galerie Gold Fiber Silk, Innova FibaPrint Ultra Smooth Gloss, Hahnemuhle Photo Rag Pearl, and Epson Exhibition Fiber Paper. Unfortunately I have not been able to get a profile for the Exhibition Fiber Paper (and I probably would have nixed it anyway since it only comes in sheets).

I printed out test sheets of various images on the four remaining papers. I don’t like the texture of the  Hahnemuhle Photo Rag Pearl so it was nixed. I loved the whiteness of the Innova paper, but it was too blue/white (and I should stay away from OBA whiteners for archival purposes). Ultimately, it was a tough choice between the Ilford and Hahnemuhle Baryta papers. However, Hahnemuhle Photo Rag has consistently been a great paper for me so I decided to stay with the brand.  The luscious  Hahnemuhle Photo Rag Baryta won my confidence and heart (until a better paper comes my way).

Note: I get my papers from www.shadesofpaper.com Contact: Erik Mateer

© nevada wier.   India, Nagaland. At the border.