Digital BW, The Print

This is a little late for this thread, but when I first read it, I  
was wondering why
one should have to spray a print three times to eliminate bronzing or  
metamerism.
I've not used Gold Fibre Silk paper, but assume it's at least close  
to a glossy paper.

For whatever it's worth, even though most of this group talks about  
various ink mixtures and
how they work with different papers, for my purposes, there's been a  
very easy solution to
eliminate both the metamerism and bronzing on glossy paper. I print  
my commercial work
mostly on a 2400, using Ultrachrome K3 Inks. I tested 5 or 6 papers a  
couple years ago, and
found that Lumijet Glossy II works perfectly, with the downloaded  
profile from Hahnemuhle,
who bought the company a few years ago.
The one thing I dislike about the paper is that it's not [paper]! It  
looks like an RC paper - I'm not
sure of it's exact composition, and probably would not generally pick  
it for prints in a show. On
the other hand, I'm able to make perfect reproductions of Old  
Master's paintings, which is difficult
to accomplish under most conditions. This has been true, even for the  
very large prints which I send
out for printing, from my files. The lab uses the same paper. Really  
- accurate reproduction under
3200 Kelvin gallery lighting and daylight, even when mixed with  
fluorescent.
Epson really did something correctly with that ink set.

Clay Price


"frankg_photo" <frankgross@...> wrote:
 > > Three light coats of PremierArt Print Shield on my IGFS prints does
 > an excellent job of
 > > knocking down any metamerism or 'bronzing'. I'm using QTR with my
 > R2400 & K3 inks and
 > > I'm very happy with Gold Fibre Silk.

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