Do these new Arches papers show the presence of dye brighteners under a black light? I assume they do, where Canson doesn’t since Canson uses some kind of silica based pigment.
Reading the first message I wonder more about the cited CIELab values of the old Canson / Hahnemühle papers than about the values of the new Canson papers.
| Papers | L* | a* | b* |
| Print MaKing Rag | 97.04 | -0.02 | 2.05 |
| ARCHES BFK Rives (W) | 97.67 | 0.05 | 1.57 |
| ARCHES BFK Rives (PW) | 96.42 | 0.52 | -1.41 |
| Aquarelle Rag | 97.43 | -0.03 | 1.72 |
| ARCHES Aquarelle Rag (PW) | 96.21 | 0.55 | -1.39 |
| Rag Photographique | 96.83 | 0.24 | 0.82 |
| ARCHES 88 (PW) | 96.42 | 0.51 | -1.28 |
There is a possibility that OBAs are used in the new papers that are excited beyond the UV light wavelength my spectrometer goes into (still a tungsten based light source) and even newer commonly used spectrometers can not reach. Some different wavelength UV torches may reveal that.
Met vriendelijke groet, Ernst Dinkla
https://www.pigment-print.com/spectralplots/spectrumviz_1.htm
"For every complex problem there is an answer that is clear, simple, and wrong." H. L. Mencken
There is also a possibility that lightfast blue tinting dye could be added into the coating at a very dilute level. For example, the blue wool #7 and 8 patches are rated at 300 and 900 Megalux hours respectively under UV-excluded lighting conditions. Those ratings would probably drop if the dye is located in a microporous coating and exposed to natural daylight, but if it managed to resist fading for perhaps 100 megalux hours and was dilute enough not to reduce the initial L* whitepoint by more than 1dE or so, this approach could be an interesting alternative to the use of OBAs in "pure white" digital fine art print media.
cheers,
Mark
http://www.aardenburg-imaging.com
True, the paper white numbers taken from the Canson profiles by Kang-Wei Hsu suggest that possibility.
ARCHES BFK Rives (W) 97.67 0.05 1.57
ARCHES BFK Rives (PW) 96.42 0.52 -1.41
Aquarelle Rag 97.43 -0.03 1.72
ARCHES Aquarelle Rag (PW) 96.21 0.55 -1.39
Roughly Lab -1.24 0.50 -3.05 dE shifts to a slightly less reflecting but cooler white.
Met vriendelijke groet, Ernst Dinkla
https://www.pigment-print.com/spectralplots/spectrumviz_1.htm
"For every complex problem there is an answer that is clear, simple, and wrong." H. L. Mencken
There is also a possibility that lightfast blue tinting dye could be added into the coating at a very dilute level. For example, the blue wool #7 and 8 patches are rated at 300 and 900 Megalux hours respectively under UV-excluded lighting conditions. Those ratings would probably drop if the dye is located in a microporous coating and exposed to natural daylight, but if it managed to resist fading for perhaps 100 megalux hours and was dilute enough not to reduce the initial L* whitepoint by more than 1dE or so, this approach could be an interesting alternative to the use of OBAs in "pure white" digital fine art print media.
cheers,
Mark
http://www.aardenburg-imaging.com
Yes, but I bet on bluish white pigment. It could be the answer we will never know. It's the secret ingredient of these new papers. Canson says "this innovative coating is exclusive to the new ARCHES papers", and it is developed at Arches.
Yes, just finished the testing and profiling of Canson Arches 88, and still working on Canson Baryta Photograpique Matt. Next week Aquarelle Rag and BFK Rives
The Arches 88 , i wil publish some results later. But, in very short, when you find the right media settings , for me on SCP9000, it is very good. The Canson advised settings are wrong.
Yes, a quick reply, as it is very busy. Using VFAP there is too much ink on the black patch, resulting in a sheen instead of pitch black. Attached image shows it, i hope.
WCRW solves it, with the lowest L-value i measured in alle my years of Printing. Pitch black blacks.
Canson specifies use of VFAP , this turns out to be not the right media-type, as the pure black patch (L=0, RGB=0,0,0) appears to be ink-overloaded, resulting in a visible sheen (see picture on previous post) instead of a pitch black appearance. Measurements indicate this also. In such a case, the next media-types to test are USFAP and WCRW, as these have less inkload in the blacks.
For my knowledge, why are you using other media type instead of resducing ink density ? I would suppose that the latter would permit to have a finer control on the ink load and maybe an even better dMax.
Thanks
I did test with reducing the Color Density, but at minus 5 it did not really solve the issue, and more than minus 5 would start to reduce the achievable chromaticities.
The ColorDensity setting is a rather global setting, whereas the WCRW or USFAP etc has more a local difference (dark grey up to black f.i.)
I there somewhere a ranking of Epson paper settings w.r.t. the quantity of ink laid for darkest tones ?For glossy media settings it is minimal if any. For matte media settings the difference is more. But it is not just amount of ink, it is also the structure of the dots, and the interaction with the coating. Assuming all other parameters are set correctly.
I guess it should depend ony on the paper type and not on the printer, but I am not sure.