Recently I converted my Epson 4800 from using Matte Black ink to Photo Black ink for the sole purpose of being able to try some of the new Baryta papers on the market. OK, not so new by now – they have been emerging the past couple of years. But I was sitting on the fence for the longest time because changing inks is such an expensive endeavor for my printer – about $45 per swap – as well as time consuming with levers changing up and down, cartridges in and out – just ridiculous. After receiving some prints from other photographers on this type of paper, I couldn’t sit on that fence any longer and converted my printer over to Photo Black.
Profile Comparison
Although there is certainly enough data on the internet about the improved gamut, dense blacks, and larger gamuts possible with these papers, I wanted to compare the old profile I made for Hahnemuhle’s Fine Art Satin paper, with a new profile I made on Hahnemuhle’s Photo Rag Baryta. Apple’s ColorSync utility allows you to compare profiles quite easily with graphical color plots, and I believe a similar one exists now on Windows systems. The plot here shows the 1728 patch profile I created for the Fine Art Satin paper as the colored section, and the extra gamut I get from the Photo Rag Baryta in the white grid areas.
I am not much of a color technoguru, but it doesn’t take much to see my prints will show a greater range of colors with the new profile and paper. In comparison to some other matte profiles, the one I was using for my Satin paper was actually pretty darn good – just the Baryta is better. Another noticeable change is in my soft proofing. Before I print anything, I will use Photoshop’s Soft Proofing tools to view the image through the intended printer/paper profile. Quite often with matte papers, I needed to readjust contrast and saturation to get the image to look like the original again. When soft proofing with the Baryta profile, there is actually very little change to the image on the monitor – so less tweaking.
After now making more than 50 prints so far on Baryta paper, I am quite satisfied with my decision. Some of the images actually take on a depth to them I had not seen before. With Baryta being a fiber based paper, it does not have the plastic feel that many luster and gloss papers can have. As with matte papers, I always enjoyed the in-hand feel to a print, and Baryta takes care of that aspect quite well. Overall I am a happy camper.
Andy, to get “ahead of that curve” – I highly recommend the Camera to Print video tutorial I wrote about previously here:
http://grafphoto.com/2007/08/23/the-dark-age-of-digital-printing/
It is an excellent educational resource on all the complexities of printing…
Hi Mark. Thanks for this information. I am kind of behind the learning curve in the area of printing. I recently “upgraded” (?) to a pigment based Epson R1900 from my dye-based Photo Stylus 1280. I am enjoying the fact that with my calibrated monitor, the Epson canned profiles seem to be getting the color right on Epson papers without much tweaking. I fell in love with the “traditional photographic print” look and feel of the Epson Premium Lustre paper.
But I have been very unadventurous about trying new papers. I guess its time to branch out. I alway poke gentle fun at those who do something “because we always do it that way.” I guess I am guilty of that myself.
I’ll definitely take a peak at the Bartya papers.
Great read Mark, thanks for taking the time to post all your tips and knowledge it is helpful, hope you are doing well been kinda busy and preoccupied lately !!
Mark, thanks for the tip on this paper stock. I will definitely check it out!
Jules, they are a fine set of papers, please let me know how you like them.
Howard, it can be tough if there are radical changes in the soft proof. So I hear ya!
Guy – I haven’t tried the Ilford yet, but plan on ordering some.
I’m glad you’re happy with the change. I was bummed recently when some recent printouts on high quality gloss paper came out looking a bit washed out (even after making the req’d printer adjustments.) I’m going to have to play & learn a lot more about the whole process, I’m sure.
Mark, I had the same hesitation when I made a similar conversion about 6 months ago. I have since adopted llford Gold Fibre Silk as my primary paper after extensive testing. I’m very happy with the results.
Guy
Soft proofing with matte papers has always been tough for me with a good amount of trial and error. Nice to hear it is easier with the new papers. I hope to make a switch or get a new printer etc later this year. The Lenswork folios on that paper is truly superb.
That’s so odd that you’re talking about the Bartya papers because my father sent me a link to them just this week. Now I’m going to have to take the plunge as well!
Thanks for posting this – I often have to mess around to get the contrast right on my prints on matte media when I soft proof. Sometimes it’s just a matter of using the right intent, sometimes unhappily it’s a single blocked color channel that looks fine on the monitor and awful on paper. Having more gamut could be the answer…