Digital BW, The Print

on 3/1/2003 8:45 PM, DigitalBlackandWhiteThePrint@yahoogroups.com at
DigitalBlackandWhiteThePrint@yahoogroups.com wrote:

> The X-Rite measures the following dmax's for the papers:
> 
> EEM - 1.68
> 
> Epson Ultra Smooth - 1.60
> 
> Eclipse Satine - 1.60.

I was looking through my portfolio today---and I became sad. Sad because all
the prints printed with pigmented inks (sundance piezo, generations enhanced
pigments) look flat and lifeless.  In the past I've been trying to talk
myself into thinking that "in the right light" they look ok, and they'll
last a long time. But, I can't fool myself any longer. While a few prints
work well with the muted range of the pigmented inks, most don't have the
sense of depth and 3 dimensionality that I long for and that the medium of
photography used to portray.  In a nutshell: I'm tired of painting with
watercolors when I really want to paint with oils.  I mean imagine Salvador
Dali's surrealist images painted in muted water colors and blacks.  Those
melting clocks would be just sittin' flat on the page.

Does anyone here share my frustration with the pigmented ink on art paper
direction of fine art inkjet printing?

How can I be happy once again with my work? Any suggestions? How's the
coating/meyer rod thing coming along Robert? Does the Epson 2200 really have
the look and feel of dyes on paper?  Please feel free to help me anyone.

I now have an Epson 1200 loaded with CIS and Generations Enhanced inks.
An Epson 1160 with Piezo (sundance) inks, and plug-in driver.

And a pile of EEM paper and flaking Orwell paper.

Wow, I feel better already now that I've gotten this off my chest. Thanks.




-Bruce