Re: difference hp Z2100 and Z3100
Re: difference hp Z2100 and Z3100
- Subject: Re: difference hp Z2100 and Z3100
- From: "Anthony Sanna" <email@hidden>
- Date: Mon, 19 Mar 2007 11:18:16 -0500
>> I'm not sure I'd count Premium Luster as a seriously popular paper for the
>> fine art B&W community.
>
>I have heard that Bill Atkinson seriously begs to differ with that view.
I'd like to know what the serious FA Community does use. I've never
been one to spend a lot of time hunting for the Holy Grail of materials,
but last fall, when I was preparing to print a series of portfolios, I
tried to track down the digital equivalent of an old, air-dried
Ektacolor C print - low gloss, deep shadows, smooth finish. What I
found out was, after ordering samples and printing tests on about every
variation of a gloss stock I could find (semi-, luster, pearl, etc.),
that there wasn't any. There just wasn't a match between Ink/pigments
sitting on a surface and dyes in an emulsion, and it seemed to me that
the way paper-makers approached the problem of low-sheen was to texture
or pebble the surface.
Framed on a wall - fixed position, fixed lighting - obviated most of the
disadvantages of the textured surface, but pulled from a slip case, held
in hand or viewed over a shoulder, with the light coming from who-knows-
where, the varying glare off a pebbled or textured surface was like
viewing candy through a storefront window - you could see it, but not
really connect with it. In the end, I printed on good 'ol Epson
Enhanced Matte.
Now that I've replaced the 2200 with a 3800, it seems like the
possibilities of finding a paper that I can standardize on have
increased, and I am trying out or requesting samples of papers that I
ignored the first time around - Epson Ultra Smooth, The Entradas
(natural & white), Crane's Museo & Max, and some of the smooth Arches
and Hahnamuhle papers.
What are the preferences out there? This is for color, not B+W.
Tony
--
Anthony R. Sanna
SACO Foods, Inc.
1-800-373-7226
email@hidden
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