Printing Papers
Apr 21, 2020 14:01:11 #
???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
Apr 21, 2020 14:04:07 #
I use luster if the print will contact glass, it will stick to the glass less than glossy.
Usually glossy if the print is to be matted. (spaced from the glass)
I don't normally use matte.
Usually glossy if the print is to be matted. (spaced from the glass)
I don't normally use matte.
Apr 21, 2020 14:19:08 #
Najataagihe wrote:
I always chose my papers based on the image!???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
Apr 21, 2020 14:40:45 #
Apr 21, 2020 14:45:57 #
Najataagihe wrote:
That's my question.
Which papers do you use for which type of image?
Which papers do you use for which type of image?
Ohhhhhh........
Apr 21, 2020 15:35:59 #
Here are a few things to consider about print surfaces.
Glossy and luster surfaced prints, especially in low key images, where the rendition of subtle shadow detail is important, will work exceptionally well. A dead matte surface tends to diminish shadows details especially where the image is printed down to maximize highlight detail. Even a glossy or luster surface print that has been lacquered with a matte spray or displayed behind non-glass glass can "gray down" and loose subtle shadow detail. There is a reflection reduction glass that is sandblasted only on one surface that somewhat minimizes this effect. A high hey image, one that is comprised of the brighter end of the grayscale or of lighter printed pastel colors can be on matte paper or matte lacquered without loss of quality.
Another factor is the style and subject. Some subjects are enhanced by a textured surfacer such as mock linen, canvas, silk, satin, or other textures whereas, in other particular subjects, the texture may become a distraction or seem incompatible. For example, a portrait of a made wit a weathered complexion or a landscape including a rustic old barn may be enhanced with a burlap-like texture whereas as a still life of a violin or a commercial illustration of silverware or surgical instruments my benefit from a smooth or glossy finish.
A print with a modern motif in a highly polished (chrome) frame and a high gloss print surface would be a good match. A traditional portrait or still life can benefit from a tapestry-like texture or a painterly kind of material such as canvas. Image a picture of mechanical tools- wrenches, ratchets, sockets, etc., print on glossy metal!
Think of the subject, the manner of display, the frame as a finished piece and select the material accordingly.
A far as preservation, sticking to the glass, fading, etc., that is not so much a matter of surface but the use of archival papers, pigmented inks, mattes, framing materials, archival framing techniques using mattes and spacers, conservatory glass, protective lacquers and varnishes, and protecting all prints and artwork from moisture, heat, and excessive exposure to ultraviolet light.
We always speak about dynamic range. Many of us view all our images on a screen. Even if the screen is correctly calibrated, we are looking at an image comprised of illuminated particles of one kind or another- same as viewing transparency by transmitted light. Prints are viewed by reflected light so the color, density, and range are affected by the volume and color temperature of the light and the incredible range that we love on the screen turns out to be missing and disappointing in a print, In many cases, the SURFACE will make a very discernible difference.
Glossy and luster surfaced prints, especially in low key images, where the rendition of subtle shadow detail is important, will work exceptionally well. A dead matte surface tends to diminish shadows details especially where the image is printed down to maximize highlight detail. Even a glossy or luster surface print that has been lacquered with a matte spray or displayed behind non-glass glass can "gray down" and loose subtle shadow detail. There is a reflection reduction glass that is sandblasted only on one surface that somewhat minimizes this effect. A high hey image, one that is comprised of the brighter end of the grayscale or of lighter printed pastel colors can be on matte paper or matte lacquered without loss of quality.
Another factor is the style and subject. Some subjects are enhanced by a textured surfacer such as mock linen, canvas, silk, satin, or other textures whereas, in other particular subjects, the texture may become a distraction or seem incompatible. For example, a portrait of a made wit a weathered complexion or a landscape including a rustic old barn may be enhanced with a burlap-like texture whereas as a still life of a violin or a commercial illustration of silverware or surgical instruments my benefit from a smooth or glossy finish.
A print with a modern motif in a highly polished (chrome) frame and a high gloss print surface would be a good match. A traditional portrait or still life can benefit from a tapestry-like texture or a painterly kind of material such as canvas. Image a picture of mechanical tools- wrenches, ratchets, sockets, etc., print on glossy metal!
Think of the subject, the manner of display, the frame as a finished piece and select the material accordingly.
A far as preservation, sticking to the glass, fading, etc., that is not so much a matter of surface but the use of archival papers, pigmented inks, mattes, framing materials, archival framing techniques using mattes and spacers, conservatory glass, protective lacquers and varnishes, and protecting all prints and artwork from moisture, heat, and excessive exposure to ultraviolet light.
We always speak about dynamic range. Many of us view all our images on a screen. Even if the screen is correctly calibrated, we are looking at an image comprised of illuminated particles of one kind or another- same as viewing transparency by transmitted light. Prints are viewed by reflected light so the color, density, and range are affected by the volume and color temperature of the light and the incredible range that we love on the screen turns out to be missing and disappointing in a print, In many cases, the SURFACE will make a very discernible difference.
Apr 21, 2020 17:30:26 #
Apr 22, 2020 06:13:32 #
Apr 22, 2020 10:10:53 #
tcthome
Loc: NJ
Najataagihe wrote:
Thank you for the detailed and informative reply!
You told me just what I needed.
You told me just what I needed.
This helps a lot. Thanks for the detailed info.
Apr 22, 2020 10:30:07 #
Stevejayd
Loc: Palm Desert Ca
Very well stated. The print is the final resting place of an image. The screen is just a temporary display. So many papers so little time!
Apr 22, 2020 10:57:25 #
Najataagihe wrote:
???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
It's simply a matter of choice. Which do you prefer? I never print on glossy paper because I dislike it.
Apr 22, 2020 12:30:34 #
Longshadow wrote:
I use luster if the print will contact glass, it will stick to the glass less than glossy.
Usually glossy if the print is to be matted. (spaced from the glass)
I don't normally use matte.
Usually glossy if the print is to be matted. (spaced from the glass)
I don't normally use matte.
If a print is going behind glass I always mat it so it doesn’t contact the glass.
Apr 22, 2020 12:37:27 #
nadelewitz
Loc: Ithaca NY
Najataagihe wrote:
???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
Photography is an art as well as a technical process. Printing a wedding portrait is different than printing a hotrod engine compartment. It's a VISUAL thing. You have to develop a feel for it.
Paper surfaces (and textures) lend different moods to the image, as well as detail clarity. It was the same with film enlarging papers. Kodak and others made photo papers in many different surface sheens and embossed textures. Now we have inkjet papers in the same variety.
Get yourself high gloss and matte paper and you can compare your own images.
Apr 22, 2020 13:22:23 #
Najataagihe wrote:
???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
Glossy papers are good for colorful, punchy images such as fall colors, flowers, etc. If I am framing with glass I always use luster to keep the image from sweating and sticking to the glass.
Over the past years I've been printing on chromaluxe metal because a majority of my shots are sunsets, flowers etc.
In the end, it's a personal preference. You may take a few images and print them on both sub straights and see what fits your needs best.
Apr 22, 2020 13:35:47 #
Najataagihe wrote:
???
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
When would YOU use Glossy, Luster, or Matte papers?
Why?
(I'm an old Kodachrome guy, so this is all Greek, to me.)
MTWTHFSS
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