Digital BW, The Print

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

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

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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