Takkun
Ian M.
Not sure if I should put this in the analog or digital subforum--it's RA-4 paper, but printed on LightJet from a digital file. Mods, please move if necessary!
For the past while I've been having my BW work inkjet printed from a local lab on a nice heavy FB paper, and it's sublime—none of the hassle that it was in the darkroom. However, I've got a few exhibitions coming up I wanted to do some BIG (20x28") digital prints done, and those would have been prohibitively expensive, so I went with Duggal.
I went with the paper noted in the title--I'd used Ilford Lustre in the darkroom fairly extensively back when I had access to one, and the color prints turned out beautifully. The BW print, however, just looks very...gray. I know the gamut will be reduced compared to a glossier stock, but it looks very murky in the mid-tones with less tonal separation. I've had good luck with the Ilford version in the darkroom, so maybe it's my post-processing technique.
Does anyone regularly work with this type of paper with BW images? is there a trick to getting it right in post-processing to get it right? For inkjet, I usually adjust global brightness to be a little more than what looks good onscreen. Maybe I lightened it too much?
For the past while I've been having my BW work inkjet printed from a local lab on a nice heavy FB paper, and it's sublime—none of the hassle that it was in the darkroom. However, I've got a few exhibitions coming up I wanted to do some BIG (20x28") digital prints done, and those would have been prohibitively expensive, so I went with Duggal.
I went with the paper noted in the title--I'd used Ilford Lustre in the darkroom fairly extensively back when I had access to one, and the color prints turned out beautifully. The BW print, however, just looks very...gray. I know the gamut will be reduced compared to a glossier stock, but it looks very murky in the mid-tones with less tonal separation. I've had good luck with the Ilford version in the darkroom, so maybe it's my post-processing technique.
Does anyone regularly work with this type of paper with BW images? is there a trick to getting it right in post-processing to get it right? For inkjet, I usually adjust global brightness to be a little more than what looks good onscreen. Maybe I lightened it too much?
kjrslr
Member
Hi Ian,
My first question is to ask what ink set are you using. I'm not familiar with this paper but the title suggests that a matt black ink is required as opposed to the more common photo black ink which the Illford Luster would use. There is a difference in the 2 inks and photo black does not print well on media that is intended to use a matt black ink. Additionally, are you printing a gray scale image as opposed to an RGB image.
My first question is to ask what ink set are you using. I'm not familiar with this paper but the title suggests that a matt black ink is required as opposed to the more common photo black ink which the Illford Luster would use. There is a difference in the 2 inks and photo black does not print well on media that is intended to use a matt black ink. Additionally, are you printing a gray scale image as opposed to an RGB image.
Takkun
Ian M.
Thanks for the reply!
I should clarify this isn't a digital paper, but a Fuji RA-4 chemistry paper. I posted in the Digital section because it was a C-print from a digital file done by a lab. Maybe I'd have better luck in the wet printing section? But it wasn't a traditional darkroom print. Hm.
I should clarify this isn't a digital paper, but a Fuji RA-4 chemistry paper. I posted in the Digital section because it was a C-print from a digital file done by a lab. Maybe I'd have better luck in the wet printing section? But it wasn't a traditional darkroom print. Hm.
chipgreenberg
Well-known
Ian I've used it in color, not B/W. The lab sold it as premium, I had a great shot, thought I'd try something different I have a calibrated monitor and definitely had to boost the contract compared to just a Fuji lustre print