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Author Topic: How to tell Hahnemuhle Fine Art Baryta from Photo Rag Pearl?  (Read 16035 times)

ecmjazz

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Re: How to tell Hahnemuhle Fine Art Baryta from Photo Rag Pearl?
« Reply #20 on: August 21, 2013, 06:47:31 am »

Hello,

During the last two weeks since the last posts here the following things happened: I went to the print lab, and did some comparison among their samples of different HM papers, and between their samples, and my prints. There was an obvious difference between Fine Art Baryta and other HM papers in the samples, and between Fine Art Baryta sample and my prints, in terms of whiteness and texture. The guy who is responsible for the prints was not there, so I had to go again the next day to show him what I was already 100% sure in, but he again was not there although we had an appointment. Anyway, the third day I was able to "catch" him in the lab. He first tried to argue that different batches of papers have different textures, and that the difference in whiteness is not so noticeable, but I insisted that I am right, and after I told him that I read already some things about the papers in this forum, he had to admit that "some error may have happened, and they maybe misplaced the different rolls of paper". I wanted to do another test on a proven Fine Art Baryta paper, but he told me he had't any roll format currently. Eventually he "remembered" that he had some sheets somewhere, and when we took them, and compared to my prints, the difference was again obvious in terms of whiteness and texture, and moreover - the Baryta paper had a very specific odor. He had to admit it, and told me if it is the same with the new roll he gets, he will do my prints again for half the price. He also mentioned that they take some paper left from other print studios, and the error may have come from there. His opinion was that my prints were made maybe on a Photo Rag Baryta, but I compared them to some other prints I made time ago on Photo Rag Baryta, and the texture is not the same. My opinion is that all of my problematic prints were made on Photo Rag Pearl as that way it was easier for him. Anyway the Fine Art Baryta arrived in two days, and we did some sample prints. This time I noticed that some specific blues on some photos had gone magenta. After some arguing again the guy had to admit he had some nozzle clogged, although he continued claiming that on one of the photos the problem may be caused my the fact it was on Photo Rag Pearl. Anyway finally yesterday I've got my prints the way I llike them. I have printed some black and white landscapes on Fine Art Baryta, and they look stunning on that paper!

Many thanks to everyone who helped me in this - it was very important for me, because it was something that really broke my enthusiasm for printing at first place.

Finally I have another little, or maybe not so little question: is there any difference if I print in 8-bit vs. 16-bit on Epson 7900/9900? All my files are edited in 16-bit from a 14-bit source, but I usually work in sRGB. If needed I could start another thread on this question though..

EDIT: I would like also to ask for the best framing option for the high OBA papers like the Fine Art Baryta? Initially I thought it should be better to avoid this type of papers, to eliminate sources of headaches, but now when I finally have the prints which satisfy my aesthetic choice, I could hardly stand the desire to print my black-and-whites on this kind of paper. The question is regarded to the choice of a glazing material which would give balance between archival purposes (blocking UV light to some extent), and aesthetic purposes (passing some of the UV light to take advantage of the brightener). The question is more specifically is there some optimal ratio between archival/aesthetics (the amount of UV light transmitted), and which material has that ratio?
« Last Edit: August 21, 2013, 10:46:50 am by ecmjazz »
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