New Epson Printers Help Photographers Make Legacy Prints

The new SureColor® P Series of Epson printers are designed for photographers who want to make their own archival prints for exhibition and resale. The series includes the 24-inch SureColor P6000 and SureColor P7000 printers and the 44-inch SureColor P8000 and SureColor P9000 printers.

Equipped with Epson’s latest PrecisionCore® TFP® printhead and newly developed UltraChrome® archival ink technology, the SureColor P printers are designed as worthy successors to Epson’s groundbreaking Stylus Pro series of wide format inkjet printers for professional photo and fine art printing and graphic arts proofing.

The SureColor P6000 and SureColor P8000 printers are designed for advanced amateur and professional photographers, graphic designers, and commercial printers and feature an 8-color UltraChrome HD inkset.

The SureColor P7000 and SureColor P9000 bring advanced printing solutions to photographers, fine art reproduction houses, and commercial and flexographic print shops and feature the new 10-color UltraChrome HDX inkset.

In the UltraChrome HDX commercial edition for proofing of packaging and graphic design, one of the light black inks for black-and-white photography is replaced with a violet ink that enables the printer to achieve 99 percent of the Pantone Color Matching System.

Epson SureColor P7000 (Photo ©Steve McCurry)
Epson SureColor P7000 (Photo ©Steve McCurry)

“I manage the printing needs for some of the world’s most elite visual arts organizations, including individual fine art photographers who expect ultra-high-end output with exceptional color accuracy and immaculate image quality,” said Mac Holbert, founder, The Image Collective and co-founder of Nash Editions, the world’s first fine art digital printmaking studio. “The SureColor P-Series, and specifically the SC-P9000, simplifies the printing process, making it easier than ever for me to achieve that demanding level of quality quickly and efficiently. Paper loading is a dream with this machine, and when paired with the reformulated UltraChrome HDX ink set with dramatically increased black density and fantastic print longevity and permanence, the result is gorgeous output that will stand the test of time.”

Reformulated UltraChrome Inks

Epson UltraChrome HD and HDX inks leverage next-generation Yellow pigment ink technology for up to twice the overall print permanence than previous generations. The inks also provide improved black density for prints with greater impact and optical clarity.

Epson SureColor P9000 (Photo ©Elizabeth Carmel)
Epson SureColor P9000 (Photo ©Elizabeth Carmel)

Preliminary print permanence ratings for the new Epson UltraChrome® HDX pigment ink technology indicate that – depending upon the type of paper – the new inks can provide print permanence ratings of up to 200 years for color prints. Print permanence ratings for black-and-white prints are likely to exceed 400 years when the black-and-white prints are output with Epson’s “Advanced Black and White Print Mode.”

According to comprehensive tests conducted by Wilhelm Imaging Research, Inc. (WIR), the world’s leading independent permanence testing laboratory, Epson UltraChrome HDX pigment inks can provide up to twice the Display Permanence Ratings of earlier generations of Epson UltraChrome inks with most Epson photo and fine art papers, including the new line of Epson Legacy Fine Art Papers.

Epson Legacy Fine Art Papers

Epson unveils new Legacy Paper line that includes Legacy Platine (featured), Legacy Fibre, Legacy Baryta, and Legacy Etching fine art papers.
Epson unveils new Legacy Paper line that includes Legacy Platine (featured), Legacy Fibre, Legacy Baryta, and Legacy Etching fine art papers.

Epson’s new Legacy Fine Art Paper products use an advanced microporous inkjet receiver layer to produce deep, rich blacks, expanded color gamut, and smooth tonal gradations with outstanding image The first four Epson Legacy Papers are as follows:

Legacy Platine is a 100 percent cotton fiber paper with a bright OBA-free, smooth satin finish. With the unique feel of an art paper from centuries past and an outstanding color gamut, this paper is exceptional for both color and black-and-white printmaking.

Legacy Fibre is a 100 percent cotton fiber paper with an exceptionally bright, OBA-free, smooth matte finish. With an outstanding black density, this paper is ideal for all types of high-end printmaking.

Legacy Baryta paper has a white, smooth satin finish and uses two barium-sulfate coatings. Inspired by the F64 group, this paper takes the best of revered silver halide technology to new levels of quality

Legacy Etching is a 100 percent cotton fiber paper with a bright OBA-free, uniquely textured matte finish. This paper has the feel of traditional etching papers.

“As a photographer, your vision is only as good as the substrate it is printed on, and with the Epson Legacy Baryta, I have found the perfect substrate complement for my images,” said Greg Gorman. “Printing on the Legacy Baryta, I don’t feel like I am sacrificing anything from my vision of what my image should be. Plain and simple – on this new paper, my prints look like jewels.”

“The smooth surface texture of Legacy Fiber has precisely the characteristics that I prefer, complementing both the best white and the best Dmax I’ve ever seen in any fine art paper, thanks to its superior coating,” said Joseph Holmes. “Together with the new, more permanent UltraChrome® HDX ink set of the Epson SureColor® P-Series printers, Legacy Fiber is a mature medium for realizing my photographic legacy and has, in turn, become my preferred option for printing all of my work.”

All four Legacy Papers will be available in cut sheet (8.5 x 11, 13 x 19, and 17 x 22 inches) and 50-ft. rolls (widths: 17, 24, and 44 inches, with 60-in. rolls by special order). The cut sheets will be available in January 2016.

Print Your Legacy

“We’re excited to see how the creative community utilizes these amazing new tools.” said Mark Radogna, group manager, Professional Imaging, Epson America, Inc.

In announcing the printers, Epson emphasized that artists have the unique ability to inspire change: “You have the responsibility to remind us of our past, while making us excited for our future.”

To remind photographers and their clients about the power of the print, Epson has launched a “Print Your Legacy” marketing campaign.

The multi-platform campaign utilizes Epson’s relationship with some of the world’s most renowned and iconic photographers – Jeremy Cowart, Gregory Crewdson, Lois Greenfield, Steve McCurry, Mark Seliger, Monica Stevenson, Tim Tadder, Amy Toensing, and Stephen Wilkes.

Short videos underscore the importance of the print through their words and images. The video content is running across Epson’s social media channels, including YouTube and Instagram.

 The Epson SureColor P-Series is currently available through authorized Epson Professional Imaging resellers.


Epson Pro Imaging

Epson Legacy Papers

Epson Print Your Legacy Campaign


Contributors to DSI’s Kickstarter Campaign Can Get Silver Gelatin Photo Prints

PHOTOGRAPHERS. Just as audiophiles still appreciate the way music sounds on vinyl records, many lovers of fine photography agree that classic black-and-white silver-gelatin prints have a look that digital photo printing methods just can’t match.  But advances in digital photography have threatened the existence of the time-honored process of making silver gelatin prints.

One company striving to keep silver gelatin printing alive is Digital Silver Imaging in Belmont, Massachussets. Their hybrid digltal/analog printing process gives you the control of a digital photography workflow with the distinctive beauty of classic darkroom prints

Now, Digital Silver Imaging (DSI)  is conducting a Kickstarter campaign to raise funds for a processor that will enable them to make bigger prints. The processor they want to install will enable DSI to make real silver gelatin photo prints up to 4 x 8 feet from digital files. Their goal is to raise $45,000 by May 17, 2013.

Contributors can qualify for three types of rewards: black-and-white silver gelatin prints on resin-coated or fiber papers from your digital files; high-resolution scans; or signed, collectible back-and-white photographs.

For one top-level contributor, DSI is offering a limited-edition portfolio of Led Zeppelin photographs signed by photographer Herb Greene. The collection includes eighteen 18 x 22-inch silver gelatin fiber prints in a custom, handmade embossed box. The prints show the young Jimmy Page, Robert Plant, John Bonham and John Paul Jones in Herb’s studio in San Francisco in 1969.

DSI’s Hybrid Digital/Analog Process

DSI currently uses a 20-inch photographic laser enlarger to expose digital files on Ilford photographic black- and-white silver gelatin paper. No film or negatives are required. Once exposed, the light-sensitive black-and-white photo paper is processed in traditional photo chemicals to create beautiful, neutral tone, archival prints.

The printing process uses real silver, not color dyes or inks. The prints show great detail and separation in shadow areas, and are always neutral. They can be chemically toned with selenium or sepia to enhance permanence.


DSI founder Eric Luden says photographers have been asking for larger print ever since the lab opened in 2008. A new processor and exposure unit will allow DSI to provide this service.

“We have already invested funds to build a darkroom for the digital enlarger and contracted a firm to start building the print processor,” says Luden. “We need additional funds to pay for the equipment, transportation across the country, installation, calibration and setup.”

Luden reminds potential donors that “Your contribution will provide real silver gelatin black-and-white prints for years to come.”


Kickstarter: Big Silver Gelatin Prints by Digital Silver Imaging

About Digital Silver Imaging



Combine Digital Printing with Traditional Photo and Printmaking Processes

As the definition of a “photograph” evolves with the proliferation of digital displays, it’s good to see a high level of interest in some of the processing methods used when  photographs were almost exclusively viewed as prints.

This revival of historic printing methods doesn’t require eliminating digital technology altogether. Below are two examples of how digital-printing technologies are replicating or
improving past photo printing methods while preserving the hands-on nature of traditional printmaking or darkroom photo processing.

Vintage Tintypes from Inkjet Transfers

If you like the look of vintage tintypes, but don’t want to expose yourself to the photo chemicals used to produce them, artist Bonny Lhotka can show you a digital option. In 2012, she will start teaching how to make digital tintype plates by transferring inkjet pigment photo prints to metal. She will show how to make the tintypes in tones of green, gold, brown,mauve, blue-black, and rainbow colors.

To learn more about this newly developed process, you can register for hands-on instruction in the small-group seminar that Bonny and Carrie Nieher Lhotka will conduct at Lhotka Studio in Boulder, Colorado Saturday, Feb 4 and Sunday, February 5. Or, you can buy the instructional DVD that Bonny will be releasing in January.

Bonny Lhotka is the author of the book “Digital Alchemy: Printmkaing techniques for fine-art, photography, and mixed media.” Some of her art will be featured in the upcoming “Digital Darkroom” exhibition that will be opening at the Annenberg Space for Photography in Los Angeles in December.


Digital Alchemy Workshops: Vintage Tintypes and Transfers

Platinum and Gelatin-Silver Prints from Inkjet-Printed Negatives

Many of the world’s most famous and historic photographs were originally shot and printed on black-and-white film. And countless images remain archived as 35 mm negatives. Some pro photographers who fondly recall the magic of classic darkroom printing are sharing this passion with new generations of photographers who grew up shooting digital.

In September, HP released the second of two Large-Format Photo Negative Solutions that can be used with a variety of traditional darkroom printing processes. The first method (introduced last fall) can be used with platinum photo printing and other “alternative”
print processes that involve exposure to UV light. The second method can be used with silver-halide contact print processes, including the gelatin-silver photo printing.

The solutions are provided as free, downloadable software applications for use with 24- or 44-inch  HP Designjet Z3200 Photo Printers and any inkjet-printable clear film that can hold the amount of ink needed to make good negatives.

The large-format negatives can be used to:

  • Make equally large-format black-and-white prints from scanned images originally shot on 35 mm film.
  • Create fresh, digitally restored negatives from aging or damaged negatives. The restored negatives can then be used to make prints with the originally intended process.
  • Create and archive long-lasting hard-copy negatives from digital files.



HP Large-Format Photo Negatives


New Developments in Black-and-White Darkroom Printing

A  Modern Tool for Historic Print Processes: The HP Large-Format Negative Solution