INKJET'S SILVER LINING

“There are relatively few things I truly despise: beets, liver, Karl Rove and RC paper, in that order. RC breaks my heart. It’s to those who print on matte rag paper yet remember silver gelatin before the Hunt brothers cornered the market on silver in the late 1970’s that I address.”

Pulling a perfect print from the wash was one of the great joys in life for a photographer. While still wet the image glowed supernaturally, tones luminous and rich. Judging how much it would dry down was one of many subtle skills gained in a darkroom. Working all night with a bottle of scotch and Miles playing, we were ecstatic in our solitude.

The small miracle of a silver gelatin print yielding its hidden image in the developer and the joy of the process was unequaled for me in the digital realm until recently. With the introduction of inkjet paper that emulates the look and feel of silver paper a rather larger miracle has been produced.

A whole generation has grown up thinking expensive, delicate rag type paper such as watercolor or other less costly types of matte papers are what you use to make prints. To them, this paper is photography. Better this then plastic, resin-coated stock. For those who embraced RC paper in the darkroom, or it’s evil mutant digital version, I can’t help you, hasta le vista. There are relatively few things I truly despise: beets, liver Karl Rove and RC paper, in that order. RC breaks my heart. It’s those who print on matte rag paper yet remember silver gelatin before the Hunt brothers cornered the market on silver in the late 1970’s that I address.

It’s true many in my generation have embraced rag papers as I did, at first because the alternative was the horrific sheen of plastic. What choice did we have in the early days of digital? Good rag papers are an important link to art and the history of printmaking, and can deliver stunningly beautiful prints for the right images. I grew up using it for etching and lithography, not photography. But over time, every generation of digital printmakers has grown to just accept matte paper as the norm.

The difference for me is simple: matte paper absorbs light and looks flat. A traditional silver paper of the type I grew up like Kodak Polycontrast F, famous as Ansel Adams favorite, or Agfa’s Portriga Rapid or the orginal Ilford, had a “supercoating” of a hardened gelatin giving it what was called a semi-gloss surface. It wasn’t glossy like RC paper, but it had a sheen that reflected light and gave depth to the blacks. And that difference was its power.

After a speech at RIT four years ago where I lamented the lack of an inkjet substrate equaling the look, feel, and tonal range of long-ago papers I was approached Eric Kunsman of Booksmart, a talented local digital printer and bookbinder in Rochester. He told me my wait was over. He was testing a brand new paper from a new company called Innova.

The company was formed by a band of Hanemuhle rebels who left when the parent company refused to fund their dream of making and distributing a paper that rivaled silver gelatin for inkjet printing. There was a story about an eccentric German scientist who also missed silver paper laboring to solve the technical challenges involved in getting a silver gelatin-like emulsion on a cotton paper base.  Innova got a hold of this guy and set the goal of producing a fibre based baryta paper that no one could tell from silver.

Until that moment, no major manufacturer appeared to be interested in this idea. I’d spoken to Epson and others and was told that it was technically too difficult and expensive to produce, and there was essentially no demand. Yet here came this little company with the crazy idea that there were photographers who remembered and missed the silver print. They also felt there were plenty of people still printing away on silver paper that might be tempted into digital printing.

With the invention of Innova FibaGloss paper the doors opened and Hanemuhle, Ilford, Epson and others got the religion and all today now distribute similar papers, creating choices and competition. I’m mentioning Innova because they were first, remain my favorite and now thankfully sponsor my projects. But I do this also from pure self-interest: I hope photographers will buy this extraordinary paper so I get to keep printing with it.

Tequila, Mexico. ©2009 Doug Menuez. At Fotokina a silver gelatin print of this image was hung next to an inkjet print made on Innova FibaGloss in a comparison test. Most photographers chose the inkjet print when asked to identify the silver print.

Tequila, Mexico. ©2009 Doug Menuez. At Fotokina a silver gelatin print of this image was hung next to an inkjet print made on Innova FibaGloss in a comparison test. Most photographers chose the inkjet print when asked to identify the silver print.

For a long time I did not even realize how I was missing silver paper. I was caught up in learning to master inkjet printing, especially the amazing color possibilities. I woke up in 2003 while comparing a black and white silver print I had made of men in vats of agave juice making tequila from my book “Heaven, Earth, Tequila” to a rag print. The first thing I noticed was the true continuous tone, the rich blacks and overall luminosity made me feel I could almost fall into the print. The rag paper had its lovely texture and handmade feel, but the image lost some impact. I felt separated from the content by the paper. And then I really noticed the limits of ink jet. While it was much easier to use Photoshop to dodge and burn I started to see where the lower gray tones were blocking up, the upper grays jumped to white and subtle banding I’d ignored somehow. Measuring the d-max showed the silver print to have deeper blacks as well.

Knowing there was no such thing as a semi-gloss silver type paper on the market at that time, I began to further explore image processing and printing with the goal of getting as close to continuous tone as possible. RIPs and processing techniques for digital converting color files to bw from Greg Gorman and other tips from Seth Resnick helped. And overall, there has been tremendous progress in inkjet printing. But even so, I grew to miss the look and feel of my old paper more and more.

In the late 1980’s I was experimenting with digital printing on rag and other papers, printing on wax printers at Adobe, where I was documenting the engineers, and later at Electronics for Imaging, where they were developing what later became the Fiery RIP. Around late 1992 I printed a portfolio on an early version of Supermac’s dye sublimation printer, a breakthrough on price and color. It had what was essentially continuous tone, far more similar to silver than what I could get from inkjet, with its dithered ink droplets. But the trade off was that the paper was resin based and it also faded quickly. I turned to Iris printers and lush watercolor papers. Those papers quickly became available on the much, much cheaper Epsons, so I joined the hunt to make beautiful prints with inkjet.

And that was all good until my wake up call. Sometimes we forget what we truly love and what defines us. Now my long nightmare is over. For me a big quest in digital is to find and implement metaphors for what I had in analog. Now I’m pulling prints out of my inkjet printer with that same rush as I had pulling them from the wash. They glow.

So the challenge is lessened but is essentially the same: to make prints that move us emotionally. It’s about the image, but also the print as object, as a beautiful delivery system for the subject matter. The choice of substrate says as much about the photographer as the content of the work and can affect our perception of the photograph as subconscious filters. To each their own of course, but I finally found mine; the look and feel of silver. Can’t beat that.

Saturday
13
June 2009
This entry was posted in Field Notes & Essays and tagged , , , , , , , , , , . Bookmark the permalink.

9 Responses to INKJET'S SILVER LINING

  1. a. bottle of Dr. Pepper
    b. Sade on a cassette player over and over
    c. Darkrooms were a truly wonderful experience. Who knew it would end.

  2. Eric says:

    Doug, I couldn’t agree more! I worked for Ilford Photo all through the transition from conventional photo products and into the digital evolution. As digital evolved, I felt like B&W became the “bastard” child. Initially, everything was focused on capture, and making that better – more megapixels, please! Then, as Epson worked on the output, and launched their Photo series of printers, but still everything was geared towards color output.It was like the 1970′s all over again (for those who can remember back that far, that was when color films caught on and B&W took a nose dive!)
    Interestingly, Ilford did some R&D on early solutions for B&W digital output. They had developed an inkset for Encad printers called Archiva, and actually began developing an all black pigmented inkset. Unfortunately, lack of funds and focus canceled this project. In the early 90′s, they also produced an early B&W RC emulsion (I know this is not your favorite word!) that could be exposed via an RGB laser light source using either a Lightjet or Lambda digital photo printer. Once again, I think they were ahead of their time and the world was still color obsessed.
    Fast forward to a few years ago and inkjet printers got much better. There were more inkjet papers to choose from than we had ever experienced with in the darkroom days. When Ilford broke up into two separate companies in 2006, the UK based factory that had been producing all the B&W photo products saw an opportunity with the Baryta based materials. They produced both a Silver based digital b&w paper (both RC and Fiber) that could be exposed via the Lightjet or Lamda. This meant for the first time in digital, we could have digital input and control and true B&W output! The papers are exposed via the light source an then the prints are processed in traditional b&w Ilford chemicals. No color cast or tone, a durable surface, and something truly archival. They have since gone on to to produce a line of Inkjet papers under the HARMAN brand that use a true Baryta substrate and apply the inkjet coating to it.

    So, with that said, folks can decide if they want to print on a true Silver based (Fiber or RC) b&w paper using a lab such as mine, Digital Silver Imaging, or if they want to they can try one of the various inkjet papers from HARMAN or others to make Silver looking prints.

    Now that digital capture is all sorted out, we are seeing a number of actions, plug-ins, etc that are focused on getting better B&W files. It seems B&W will have another revival!

  3. Troy says:

    I hate to disagree but I always loved the look of platinum so matte is better for me. I do like the look of the Harmon though but it isn’t double sided and the only printing I do much of anymore is for the portfolio

  4. Pingback: In the end it’s all about the print.

  5. Hey, that was without a doubt an interesting post. I had actually been searching for a photo printing related blog for a while now. Thanks! Do you offer a subscription service? because I can’t seem to locate the details anywhere.

  6. menuez says:

    Hey Eric, so much very important history and information here, not sure where to respond first. But definitely Ilford did a great job keeping the black and white dream alive and still does. When I make silver prints these days it tends to be on Ilford as that became my standby. I have heard but not tested some new paper from Kodak I hear has great blacks again. And what you are doing is fantastic. I’ve been working with a small lab in NYC (Photoplex) for many years prints my silver prints, but they also output digital negs for making silver prints. Back in SF I used to work with a lab called Digital Pond that was doing Lambda for me and Pictopia in Berkeley was experimenting with using Lightjet and trying to expose Ilford silver papers– like in 2000 or something– and it was not quite working as this was before coatings were adjusted or chemistry or something was modified for this to work. I’ve not tested the Harman brand yet but ultimately what is fantastic is this resurgence of interest in bw as you say. Continuous tone remains the goal and with inkjet we are getting closer and closer. At some point if your eye cannot detect where tone steps end it’s as good as continuous…. thanks for the Ilford history!

  7. menuez says:

    I think the key was you had to close the door, turn out the light, that most people could not take the smell of acetic acid, and so it was a great escape from the world. Sade sounds good too…

  8. menuez says:

    I hear you, I can’t argue with platinum, it can be lovely. but matte is something i do appreciate and use and for certain images. for books i also use double sided matte only.

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