The glossy one prints just like their Fibaprint papers and comes out of the printer with a glossy finish, with greater colour depth and deeper blacks than you get even after varnishing more traditional canvases.
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FWIW, just the 2 cents of a inexperienced amateur : I tried the 2 Innova canvases as they were included in the sampler they sent me (many thanks to their french distributor [a href=\"http://www.novalith.com/]Torpedo[/url]).
The high gloss of the glossy one surely helps much with gamut and DMax, but it gives a strong emphasis on the canvas texture that I really find disturbing - it actually reminds me of cheap painting reproductions printed on similar material (think ueber-kitschissimo pictures of cats or horses ).
It's probably a cultural problem - for me, canvas is more made to be hidden by the texture of oil painting itself - and even with fiber papers, I also strongly dislike the
Naugahyde vinyl look of some (if not many) of them.
But beyond this taste problem, I also struggled to find a way of lighting it without having the reflections on the canvas surface interfering with the content of the image (to the point of partially hiding it).
Post-relecture note : I realize now that the samples I got were not the ones you review, but were the older CG15/MC12 canvases, so all the above does not apply to the IFA36. Oooooops.
That said, I still wonder what is the correct way to light such a glossy canvas without getting disturbing specular reflections.
And if anybody is interested in these older products, from what I see in Keith Cooper's review, the difference between CG15 and MC12 is more pronounced concerning the gloss, and less so concerning the black depth/gamut imvho.