use lustre or enhanced matte for display in store window you think?

[jen_marcal]

I'm displaying about 20 inkjet prints that will each be framed between two

pieces of glass (floating) and then hung in a store window on the street. I

need to make all of the prints on the same paper -

 

I just can't get into Velvet because it is so flat looking, and it seems like

Enhanced matte is a little less flat but Luster makes most of the prints look

good with deep darks and colors, but I'm thinking the metamerism or

gold/copperized look from angles might make it a bad choice and enhanced matte

would be better because it's more paper-y.

 

Anyone have their two cents? I appreciate it! Another paper perhaps, even?

[szrimaging]

Umm....can you take a sample of the papers to the store front in question and simulate the exact conditions (at least as far as glass is concerned)? You are running through so many kinds of glass here it is really hard to call. Personally, I go for the Luster as my general purpose paper. You might try higher end rag paper. I have gotten some really amazing color off of it. For that matter, how big are these prints? Are they meant to be looked at from near or far? Are you grabbing by subject matter, color or what? Really the best is test with the different papers. It is all subjective, so what looks best to you is what you should do.

[roger_smith4]

Is it for B&W prints or color?

 

I prefer the Ilford pearl and other glossy-type papers to their Epson counterparts. There's less of a dull feel to them.

 

If it's color you might consider doing Fuji Frontier "matte" prints.

Have you seen the new "high-performance" papers like Museo Silver Rag and competitors?

 

Personally I like the look of the cotton matte papers for B&W and use Innova Smooth White 315 for most of my work.

[jen_marcal]

It will be through a couple layers of glass, yeah, the frame glass and then the store window glass - good point - that makes me lean towards the luster because the darks get so much darker than on enhanced matte, right? I can't get over how flat-looking matte or velvet is in comparison.

 

And each photo is stylistically almost unrelated to the other ones, so they're in many different styles and some grab by color and some are more detailed and some are black and white. When I've done test prints some look good on certain kinds of paper and some look better on others, but I need to pick one paper for all of them for this display.

 

I'm printing on my Epson 4000 so they'll be about 16x20. I haven't checked out those other papers you mention, no, I am so limited right now by only knowing a couple Epson papers - I should try them.

[www.whitemountainphoto.com]

I hope they are not getting direct sunlight. Not good for a fine art print.

 

Dana/<a href="http://www.whitemountainphoto.com">www.whitemountainphoto.com</a>

[dickhilker]

I've done that, Jen, and found the Lustre works very well with one caveat -- make sure to give them time to cure after printing (at least a week) before framing them. Otherwise, you'll experience fogging of the glass that results from outgassing with that combination of paper coating and ink. Although some prints in the same window that were printed on an H-P faded badly, mine seemed to show no changes after six weeks in the half-day sun. I'd also suggest giving them 3 coats of of a U/V blocking lacquer spray such as Premier PrintShield. Good luck!

[bobmichaels]

EEM is a good proofing paper but it does yellow quite a bit. No problems with using matte, just not that particular one. If they are going to be in the direct sun for more than a month or so, I certainly would use an archival matte and not EEM.

 

Yes, I know what Henry Wilhem says. My experience is not the same as his. Nor is the experience of the high end printers I know.

 

There are many good papers out there and I wouldn't hesitate to use 99% of them. Unfortunately EEM is in that other 1%.

[Brad_]

Micro-ceramic Luster from inkjetart.com. Outstanding with K3 inks...

[patricklavoie]

Luster could be a good choice. But you dont need a week for them to be ready to frame, just put a cheap piece of paper like tracing paper on them for 24hre and that should be OK (the tracing paper will suck the moist from the luster) then your ready. As for the spray over them, again i dont think you will need it, Epson state that the Luster paper can stay in sunligth for as much of 2 years behind glass and protect from the rain...under 2 glass you should be OK.I have a print made from my 2200 (genuine epson ink ultrachrome) 2 years ago in my window facing south, and it still look good compare to a test print a make every 6 month. good luck!

[AaronFalkenberg]

I have no idea what this is for, but if you truly care about the longevity of your work, there's no question that matte is the only way to go, and not EEM, but VFA (which you say you're not fond of) or Epson Ultra Smooth. The latter takes colour very well, is fully archival, and has less surface texture than VFA. Behind not one, but two panes of glass it would be terribly difficult to tell the difference between M or G, except the latter would bronze and shine more at agles as people walk by.

 

With an Epson 4000, I would suggest Epson Ultra Smooth. You have to figure in print costs, too. 16x20 Lustre is quite pricy.

[AaronFalkenberg]

I also like Zach's idea of taking some test swatches to the store window. Ultimately, it's all down to personal preference. Personally, I get slightly better density on VFA than EEM, and the surface texture makes it seem less "flat" for certain subjects.

[jen_marcal]

God, this is wonderful information - I hadn't considered Ultrasmooth fine art or Museo silver rag - I am very interested to try them - I really appreciate the suggestions - I can't wait to see if they have more of the contrast that luster has with more of the nice paper/not plastic-y quality that enhanced matte and velvet have. I am not worried about fading or print degeneration in this window because they won't be in there for very long - a few weeks at the most, and I can always make new prints if someone wants to buy them.

[dickhilker]

" (the tracing paper will suck the moist from the luster) then your ready. As for the spray over them, again i dont think you will need it, Epson state that the Luster paper can stay in sunligth for as much of 2 years "

 

Patrick, it's not moisture that's the problem with both Lustre and Luster, but rather a volatile gas that results from the interaction of Epson's pigment ink and the coating of the papers, much like the fogging on the inside of a car's windshield from the materials used on the trim when exposed to the sun and heat. You're right in saying that a sheet of absorbent paper will hasten the process a bit, as will the use of a hair dryer on low heat. However, I think you'll find it takes a bit longer than you suggest, especially if the framed prints are subjected to the light and heat of a storefront.

 

As for the spray, in addition to providing U/V and scuff protection, it also serves with the luster papers to even the reflectance of the print in those areas not covered by ink. Without it, such areas look dull compared with the inked areas.

[jen_marcal]

God, wouldn't it be an absolute dream if you could buy a sample pack of paper from a photo store that had one sheet of all the different types of paper available so you could print your own test strips on every different paper and compare apples with apples? Even if you could just buy an Epson sampler pack... or a sampler pack from some other manufacturer!

[roger_smith4]

Hi Jen, try inksupply.com's Paul Roark sample pack for starters.

[jen_marcal]

Wow! I can't believe you really can buy sample packs! I thought it was just a great fantasy I'd cooked up! Thanks a lot-