Digital BW, The Print

At 01:23 PM 4/30/03 +0000, you wrote:
>Are you still using the name "Epson Archival Matte" for the paper?
>Has anyone asked questions about your choice of this paper over
>others that appear to have greater longevity?
>
>Chris Hargens
>
>
>  --- In DigitalBlackandWhiteThePrint@yahoogroups.com, HPA <tom@h...>
>wrote:
> > I call them Archival Ultrachrome prints and Digital Ultrachrome
>prints.  On
> > every photo page, I have a link to more info about the prints.
>That link
> > takes them to a basic description, with further links to Wilhelm
>and Epson
> > for more information.  My description of 2200 prints is this:
> >
> > "About Ultrachrome Prints
> > I make the prints on Epson Archival Matte paper with archival
>pigments
> > exactly as recommended for maximum permanence. In tests conducted
>by Wilhelm
> > Imaging Research, an independent image permanence research firm,
>this
> > combination has been shown to produce lasting, fade-resistant
>prints.
> > Ultrachrome prints are more permanent than conventional color
>photographic
> > prints (although not as permanent as archival black & white fiber
>prints)."
> >
> > I surveyed hundreds of websites, ebay, etc. to see how others were
> > describing them.  A number of sites had exaggerated or deceptive
> > descriptions which rang my B. S. alarm. I did like the government
>archive
> > descriptions of Epson 1180 prints, and used this text as a model
>for mine. I
> > believe the public is willing to buy these prints and fully accept
>them for
> > what they are, as photographs, at this point in time. Orders for
>digital
> > prints are increasing at such a rate that they may soon exceed
>orders for
> > chemical prints.  Because I sell historic and documentary
>photography, i
> > need to keep all text on the site very neutral and objective.  If i
>fudge or
> > hype the print descriptions, I am sure intelligent customers will
>see right
> > through it and everything else I say will be called into question.
> >
> > Without reviewing the substance of the many internet debates about
>giclee,
> > the term is controversial and questionable when applied to 2200
>prints.
> > Also, art conservators at museums are having problems with giclee,
>such as
> > the ink falling off the canvas and other issues.  News of this
>carries
> > quickly to institutional buyers, some of which are my customers.
> > Ultrachromes have no such problems, so I consider the term Giclee
>to be a
> > liability, and I deny that my prints are Giclee.
> >
> > tom robinson
>
>Guys,

>After reading some of the posts these are my thoughts re what to fill in 
>the "medium" line on the gallery contract or whatever.  You owe the 
>ultimate owner of the print a clear and accurate description of the medium.

>Museums need to know as much as possible for work in their collections for 
>the archivests: process, inks, and paper as well as mounting method and 
>substrate.
>A sales gallery should be using common term used in the profession - such 
>as Iris and other proprietary methods, or Giclee for ink jet prints and 
>you should comply with their wishes.
>A non-sales or non-commercial gallery (school art museum, library, arts 
>council, etc.) may not care what you call your pictures as long as it is 
>honest and brief.

AZ













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