Digital BW, The Print

Thanks for the info.  

I will probably be looking to do prints up to 20x24" and larger... assuming it is not 
practical (with as quickly as printers get outdated) to purchase what would likely be a large 
format printer, is there anywhere locally that makes these types of prints at reasonable 
prices?

Thanks again,
~Joel

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" <paul.roark@v...> 
wrote:
> 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