Digital BW, The Print

Joel,

> ... I am just learning more about digital printing (work in large 
> format film) and am trying to deduce which digital printing
> process is most similar in quality, ambience and permanence to a
> traditional fiber print?

As you can tell from previous responses, reasonable people can have rather
different opinions on the issues you've raised. 

Overall, however, I'd guess most on this forum feel that carbon-based
pigment inksets provide the best B&W solution so far.  The ones that are
most often used are probably the MIS, Epson UC, and Piezography pigments.

Although matte prints have a different look than the air-dried fiber prints
I used to make, most of my serious work is on matte, acid-free paper.  When
framed under glass, they look very much like my older prints.  Not having to
dry mount them is a huge plus.  The matte finish allows simple tape hanging,
which is preferred by conservationists and much easier.

The measured dmax of matte paper is low (e.g., 1.65 v. 1.9 for real world
silver print) but the lack of reflections often offsets this difference.
Once I got used to the matte look, I found I preferred it for most work.
The main problem I have with it is that it's fairly fragile -- being subject
to physical damage or abrasion if, for example, one rubs a finger across a
dark black area.  For prints I'll ship today or tomorrow, that are not
framed or matted, I'll spray them with "Lascaux Fixativ" to help be sure
they don't get damaged in transit or when the buyer mounts and frames them.

The latest pigments from MIS and Epson can also print on RC paper and have a
higher dmax than the silver prints.  Wilhelm Research rates the Epson
Premium line of these papers as archival (more than 200 years of dark
storage).  While I disliked the wet process RC prints, I use Epson Premium
Semimatte and, especially when sprayed with a lacquer (PremierArt Print
Shield) and dry mounted, I think it looks very close to a silver print.  It
also has a surface that can actually be cleaned with a damp cloth.  For
prints that are not going to be behind glass or acrylic, this may be the
best approach.  I'm currently making a 2 x 4 foot reproduction for a local
museum using this approach.

Frankly, I need to be able to print on both types of paper.  They serve
different uses and markets, but both can be archival and very good looking.
I don't expect to ever make silver prints again; my enlarger is now just
taking up space in my darkroom.

I don't have any interest in the current dye technology.  The latest
swellable emulsion papers give the B&W dyes fair longevity, but still not in
the same class with the predominantly carbon inksets.  If one uses good
cotton paper, the display life of dyes is very short.

Hope this helps.  You might want to browse the information I have put on
line concerning the MIS inksets I've been involved with.  See
http://home1.gte.net/res09aij/index.htm 

Paul
www.PaulRoark.com