Professional Photography : inkjet

Photokina Report 1: The Designjet Z3200

Eileen Fritsch — Fri, 03 Oct 2008 21:17:00 GMT

I had the good fortune to attend Photokina 2008 in Cologne Germany. As always, it is held on such a large scale that it defies description. Take it from me, the whole thing seems bigger than Rhode Island. According to a final report issued by the Photokina Press Office, this year’s show featured 1,523 exhibiting companies from 49 countries. The show was attended by 169,000 people (including 6,000 journalists) from 161 countries.

Attending Photokina has reinforced what I posted previously: We truly are in a golden age of photography, with more choices and tools available at more reasonable costs than ever before. New photography products were everywhere, ranging from cameras and lighting systems to printers, inkjet papers, and more. For example, Nikon’s lineup of cameras now includes the D90, which features over 12 MP and video recording, plus some new lenses including Perspective Control models.

Plus, in addition to announcing new products of interest to photo labs and retailers, HP introduced the new Designjet Z3200 and HP Artist system for fine-art reproduction. I have also had a chance to test the Nikon D3 combined with the new 105mm Macro VR lens, along with the HP Artist system. This lens is very sharp, with great technical characteristics, and superb color and contrast.

The Designjet Z3200 is a new model in many ways, but primarily it builds on the success of its predecessor, the Z3100. Technical changes and upgrades include:
·         easier loading of sheet media;
·         direct user control of the paper feed; and
·         improvements in the user interface in the software HP supplies to run the printer.

The speed of the printer has increased significantly, which should make this machine even more attractive for those who need higher-volume output. Most interestingly, the printer now incorporates a new ink formulation for the red channel, called Chromatic Red. It provides a wider overall color gamut. In images that include a range of red tones, you can definitely see improvements in saturation and color vibrance, along with increased detail throughout highlights, shadows, and transition areas.

The Designjet Z3200 includes support for more than 50 types of HP large-format printing materials, including HP’s new Baryte Satin Art Paper.

In a case study HP’s site, photographer Albert Watson shares some of his observations about the Z3200. He notes that, “One of the most important things to a photographer is the translation from the eye to the film, the film to the screen, and the screen to the paper. The translation the HP Designjet Z3200 achieves is amazing.”

The Designjet Z3200 is at the heart of the remarkable HP Artist System, a breakthrough end-to-end digital fine art reproduction system that I’ll discuss in more detail in my next post.

Enjoying An Old Friend: The HP Designjet 130

BlogArchive — Tue, 13 May 2008 19:15:00 GMT

By Jon Canfield

As a writer focusing on printing and color management topics, I’m lucky to be surrounded by the latest and greatest tools. But, there is a downside. It seems that I’m constantly learning how to take advantage of this new feature, or that change in printing. Along the way, I’ve learned quite a bit, and gone through plenty of paper and ink.

So, it was refreshing to step back the other day and do some work for myself. I have an image that I’ve been using as a test piece with different printers. It’s highly saturated, so it gives the pigment-ink printers a good challenge. While I can say that pigments have come a long way in an amazingly short period of time, there’s still a little something lacking in the prints I’ve been doing. With this in mind, I set up my older HP Designjet 130 for a test run using dye-based inks.

The first thing that surprised me is that although I haven’t used this printer in a year, the initial calibration test I printed came out perfectly – no nozzle clogs, no head issues, nothing! The 130 just purred away, happy to be plugged in again.

Now, considering all that the pigment printers can do (wide variety of media types, 8- to 12- color ink systems, etc.), you would think they would have a huge edge over a lowly 6-color dye-based system. You’d be wrong though.

Sure, the newer printers do have many advantages, and I’m not about to give up my pigment printers for anything. But, the image I printed on the Designjet 130 had a dimensionality that I haven’t yet been able to equal with pigments. From the rich blacks to the vibrant and saturated purples, this printer did a better job with this image than any other printer I have used.

The moral of my post? Even if you have a printer that’s a little long in the tooth, don’t assume it can’t produce excellent results. Sure, there’s always room for improvement – it’s called progress. But sometimes, an old friend is just what you need.

Inkjet Tips Book Takes a Fresh Approach

BlogArchive — Fri, 11 Jan 2008 13:01:00 GMT

By Harald Johnson

I’ve read, written, and edited many books on photography and digital imaging and printing. Most of these books have useful information; some more than others! Some follow the normal “how-to” format, others are structured in a unique way. One of the newest books on the market for those interested in photographic printing falls into the latter category. And just so we’re clear up-front: I am the Series Editor of this book, but the format was not my creation; it was the author’s: Andrew Darlow. And the book is 301 Inkjet Tips & Techniques: An Essential Printing Resource for Photographers (2008, Thomson Course Technology PTR).

The book is basically a collection of tips and techniques (from a paragraph to a few pages long), organized in logical groupings by chapter. If you want more in-depth or updated information on a specific tip, Andrew has inserted link-codes into the text that make it easy to find the tip-related information on the book’s companion website.

Plus, there is an interesting interplay between the first eight chapters (Andrew’s own images and tips) and the Guest Artist Section that follows in chapters 9-16. In the Guest Artist section, photographers contribute both new material and at times give their input on subjects that were brought up earlier in the book. This creates a cross-current of content that adds to the reader’s experience.

Let me give an example.

Chapter 7 is titled “Portfolio and Presentation,” and Andrew does a good job talking about (and showing) the various ways to make photo albums (tip: matte prints usually have fewer compatibility problems with album sheets than do glossy prints), portfolio books and boxes, and even framed prints.

One of the chapter illustrations shows photographer Richard Ehrlich standing with one of his framed prints. Then, when you get to chapter 11, “Portfolio and Marketing Tips,” there is Richard Ehrlich again. This time, he is the one giving the tips. In Tip 152, Ehrlich explains how he protects his portfolio prints with a custom-made, hard-sided, foam-lined case.

Other tips in this Ehrlich section include: having an exhibition catalog/brochure produced (tip: use the new print-on-demand technologies), keeping your prints covered (tip: use Pellon available at fabric stores), protecting your work for shipping (tip: use the box-within-a box approach), building your own flat files for storage, and creating a boxed portfolio.

Chapter 11 continues with portfolio and marketing tips from other guest artists. So when you combine Chapters 7 and 11, you end up with tips and illustrations on print presentation not only from the author, but also from several others. So you can see how different photographers and artists approach the subject from slightly different angles.

301 Inkjet Tips & Techniques: An Essential Printing Resource for Photographers (2008, Thomson Course Technology PTR) by Andrew Darlow (Foreword by Douglas Kirkland) is a comprehensive, how-to guide to high-quality digital output that shows photographers of all levels how to prepare, create and display high-quality prints through detailed instructions and hundreds of full-color examples from more than 20 professional photographers and other artists.

Additional content for the book, including hundreds of clickable links to many of the resources covered throughout the book can be accessed at: www.inkjettips.com

Frequently Asked Questions about the Gloss Enhancer on HP's Designjet Z3100

BlogArchive — Fri, 21 Sep 2007 13:22:00 GMT

By David Saffir

Any time a pro-model inkjet printer comes out with features radically different from the status quo, questions inevitably arise from photographers anxious to fully understand the true capabilities and benefits of the new features. That’s certainly been the case with the Gloss Enhancer on HP’s Designjet Z3100. Here are just a few of the questions I’ve been asked at some of the trade shows and seminars I’ve attended.

What is the HP gloss enhancer?

It is a clear ink, which when mixed in correct proportions with the other inks on the page, provides a more uniform gloss on the surface of a print, effectively eliminating gloss differential on prints created on glossy or satin papers, and perceived “bronzing” in black and white prints.

Which media can the gloss enhancer be used with?

The gloss enhancer is intended for use on glossy and satin inkjet media. It has no perceptible impact on fine art, watercolor, and similar matte papers.

Is the gloss enhancer like a clear coat or varnish?

No, it is not a clear coat or varnish. The gloss enhancer’s main purpose is to improve the smoothness and gloss appearance of the final print. In my opinion, the gloss enhancer renders prints made on glossy or satin media as smooth and uniform as their darkroom cousins. Personally, I find that the dimensionality and “pop” of the prints is improved, and I find it very pleasing.

Unlike a clearcoat, the gloss enhancer is applied like an ink, and is closely controlled by software. In fact, the gloss enhancer is controlled by its own screening algorithm and it is applied selectively where it is needed. The gloss enhancer is only applied to areas of an image that have an RGB color value of 254,254,254 or lower. Pure white (which has RGB values of 255 in each channel) will not receive the gloss enhancer. (As a practical matter, I set white and black points slightly under max values when using inkjet printers.)

How do I control the use of the gloss enhancer when printing?

The printer driver provides controls that allow you to either: (1) turn the gloss enhancer off; (2) use it only on the inked area (“econo mode”); or (3) use it on the entire page. I recommend turning the gloss enhancer off for making proofs, and using the econo mode for final prints. Applying it to the whole page is usually unnecessary, and wastes a small amount of the enhancer.

What effect does the gloss enhancer have on color?

That’s a good question! If you look closely at a print that has been made using the “whole page” setting for the gloss enhancer, you may perceive a slight change in the white point of the uninked paper. In other words, you will see the gloss enhancer on the unlinked portions of the page, and it seems to reduce the white point to a very small degree. I’m not certain, but I believe that this is the result of increased “glossiness” or reflectance.

In my conversations with HP color scientists and engineers, they indicated that the gloss enhancer has no effect on color rendering in a print. In my own experience, I have made prints from the same color image using gloss enhancer turned on, and turned off – and I can’t discern any significant difference in color between them. Gloss appearance and smoothness – yes; color change – no.

Does use of the gloss enhancer change the dry time for a print?

Not in any significant degree, at least on HP media. Some users tell me they have noticed increased dry times when using third-party media. I use many types of papers, but I haven’t had this problem. I suspect some of these issues may be related to using printer-managed color with third-party media, instead of creating a custom profile for the job at hand.

Does use of the gloss enhancer improve print durability?

I don’t have hard information on this topic. First, on HP media the prints are highly water and damage resistant --even without the gloss enhancer. Prints made with HP Vivera inks are highly water resistant, even under running water. Using the gloss enhancer, my personal impression is that prints seem to be more water and scratch-resistant, but I’m not sure how one would go about quantifiably measuring these properties.

Does it make sense for photographers to use the gloss enhancer?

In a word, yes. I see little or no downside, and the benefits in terms of print appearance are significant. I use it consistently. I recommend it to all of my printmaking customers, and so far, none have told me that they prefer not to use it.

In my opinion, the HP Professional Satin photo paper combined with the Z3100 Vivera inkset (including gloss enhancer) provide the best-quality pigment-based photographic prints I have ever seen.

If you have tried the gloss enhancer, I’d be interested in hearing more about your own experiences and observations. And if you have any other questions about it, please feel free to ask.

The Power of Black and White

BlogArchive — Fri, 20 Jul 2007 13:53:00 GMT

By Jon Canfield

I find it ironic that black and white imagery seems more popular than ever in the digital age. There’s just something about a strong monochromatic image that is more compelling than anything you can create with color. But obtaining a quality black and white from an inkjet printer has been frustrating, with many prints showing a color cast or significant bronzing.

While monochrome inksets are available from vendors such as MediaStreet, Jon Cone’s Inkjet Mall, and Lyson (yes, there are others, but these three have been the top-quality inks in my experience), new printers such the HP Designjet Z3100 have reduced or eliminated the need to go with a pure black and white printer. Obviously, not having a dedicated black and white printer saves money and space, but is the quality from the HP Designjet Z3100 really that good?

To find out, I made some comparison prints using this black-and-white image. For neutral tones, the HP printer was a clear winner with better tonal gradation and more neutral grays. Only when I went to a toned print did the dedicated inks show any advantage at all.

One area in which the other printers and inks couldn’t compete was the use of the gloss enhancer available on the Z3100. When printing to fiber or gloss media, the addition of gloss enhancer made a dramatic improvement, eliminating bronzing from the final print.

Part of the reason for HP’s high quality is that you’re essentially printing to a quadtone printer when using fine art media. The Z3100 uses both photo black and matte black along with the two grays. By not using any of the color inks, you eliminate any color cast that may otherwise be present. The only way to accomplish this with other printers is to replace the inkset with a dedicated monochrome inkset. This is costly and impractical when you also want to print color because you need to flush the ink lines with every cartridge change.