Digital BW, The Print

SteveZ started a thread about digital b&w prints compared with
traditional wet darkroom silver prints, writing in part:
> 
> What are your opinions about using glossy media
> for fine art prints?
> 
> Do any of you use this media and if so for what
> applications?
> 
> What about the "bronzing" issue? How do I overcome
> this problem?
> 
> Please speak your minds.

A number of b&w list members have posted responses. Some favor matte
prints only, some offer other perspectives. I do not take sides, as I
think both approaches have merit.

Media Street's new QuadBlack ink set supports both matte and resin
coated (glossy or luster) papers with QuadTone RIP software. I designed
the ink set and I am currently developing printing curves for a range of
papers and printers. The ink set includes dark and light cold grays and
dark and light warm grays, so a printmaker can make cold, sepia,
neutral, or split-tone (platinum) prints simply by selecting appropriate
printing curves. 

With Matte Black ink in the black position, one can make rich b&w prints
of excellent quality on photo-matte or fine art papers. These papers
have a luxurious feel and texture, and many artists prefer them. Dmax is
around 1.7.

With Photo Black (Neutral) ink in the black position, one can make
exhibition-quality b&w prints on resin-coated luster (or even glossy)
ink jet papers. In this mode, one printer channel is used to put down a
surface optimizer resin in the white and light areas of the print to
balance the ink lay-down in the dark areas. This produces a print that
is free of bronzing.

These QuadBlack prints on luster paper closely approximate the look of
classic air-dried fiber based silver prints. They have a longer tonal
scale than matte prints due to the deeper black; Dmax is around 2.3.
However these papers feel like flimsy plastic, and in larger sizes they
need to be dry mounted to stay flat.

So both options offer benefits, and the best choice will come down to a
question of taste and specific requirements. A six channel printer like
the R200 will accommodate one black, all four grays, and the surface
optimizer; changing between matte and photo black requires changing one
ink cartridge. A seven channel printer like the 2200 will accommodate
all seven cartridges, including both blacks, so changing from matte to
photo black can be accomplished under software control.

Media Street has already posted preliminary product information on their
web site, and I believe they expect to begin filling initial orders
shortly. Initially, QTR curves will be available for the R200 ($99,
letter size, 3 pl drops). Curves for other printers will follow.

Richard Wolfson
Fine Art Photographer, Printmaker, 
& Digital Imaging Consultant