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Papers to Rave About



Photographers can choose from an extensive range of media options when it comes to outputting their images-B&W and color darkroom, inkjet, and dye-sub selections. The elegant suffiency includes white film; metallic; watercolor, canvas, velvet, and pearl surfaces; fiber-base; resin-coated; thermal; and dye-sublimation media.

Today's papers also offer extended life, stability of the printed image, and archivability.

SP&D culled through the reams of papers available, highlighting the newest and most popular. Those featured are but a handful of the dozens in the market, so be sure to check company websites for more selections.

AGFA

I shot this image with Agfa film and printed it on Agfa paper. All black-and- white film and photographs are processed in-house to our standards. I find that the tonal quality is superb, transferring the moment and emotion of the subject with great clarity. Sharpness in the MCC and MCP papers is especially brilliant. The variations in range invariably exceed the talent of the darkroom artist. In the field, I'm always looking to stretch the envelope, with angle, lens, or light. It's the same in the darkroom. With Agfa papers, I find there's always another expression in tone and clarity to be had. By changing developer, developer strength, time or temperature, new horizons are always possible with this paper. GORDON TRICE

CANON

One of the most significant benefits of creating photographs digitally is the ability to control the final outcome of the prints you present to clients. The digital photography workflow has empowered me with creative control over how my final image looks, instead of the guy in the lab. I shoot primarily architecture and landscapes. My clients require digital files, however, I frequently provide fine prints of the best images from the shoot. I print on Canon Photo Paper Pro using the Canon I960 printer. Photo Paper Pro creates the most brilliant, sharp, and appealing high-gloss finish prints I have ever seen. The prints have a depth and richness that have helped me educate the skeptical photo buyer to the superiority of digital photography. By working within the bounds of the resolution you have captured and printing on Canon Photo Paper Pro, you can create prints that far exceed the quality and life of other photographic printing processes. KEITH SUTTER

CRANE/MUSEO

As both a commercial and fine art photographer, I've searched extensively for an archival paper sized to accommodate my panoramic fine-art inkjet printing. In discovering Crane's Museo Pan Pro Paper, I have finally found the perfect solution. Imagine absolutely exquisite image quality and accurate color reproduction on a 365 gsm sheet of 100% cotton paper with an actual panoramic aspect ratio of 1:3. Its intrinsically beautiful tactile surface and no-bent-corners packing is fantastic. LEE GORDON

EPSON

I've used various Epson papers for color and b&w prints: photographic, fine-art, and coated papers. With high resistance to water and light, the prints offer longevity ratings up to 100 years under glass, with some rating more than 100 years for b&w prints under glass.

I've been using the Epson Stylus Pro 9600 to create prints for the Amazing Men exhibition (that's B.B. King at right) from my book of the same name. To help put the book together and display my work, the Epson printer and paper have been a great asset and the reproductions-beautiful. JOYCE TENNESSON

FUJIFILM

As a wedding and portrait photographer, it's vital that the images I present to my clients are true-to-life, high-quality, and will last a lifetime. For these reasons, Fujifilm Crystal Archive paper is what I rely on.

Fujifilm Crystal Archive paper always produces vibrant colors that are true-to-life. My business workflow has improved ten-fold thanks to this paper. Gone are the days when we had to re-do orders because colors were off or skin tones were distorted. PAUL MCMILLIAN

CANSON/ARCHES INFINITY

As a commercial and fine art photographer, and giclée printer, I have printed extensively on about 20 different digital papers. I've printed on Arches Infinity with two ink sets: Generations Enhanced and Epson UltraChrome. With both pigmented inks, the color gamut is outstanding. Infinity has the ability to hold detail in the dark parts of the image beyond any paper I've tried, without sacrificing the blacks. That Infinity prints so similarly on both texture and smooth is a godsend. Being able to proof on the 230g and final print on the 355g offers economy, and this is physically the flattest sheet I've seen, and so easy to load. The Arches name is so well respected that my clients feel comfortable with the archival data and love the look. ALAN EPSTEIN

MOAB PAPER

Moab Entrada 190 helps soften the look of landscapes and creates a category between realistic and artistic, almost impressionistic. It's exactly what I've been trying to convey through my work and Moab paper makes that possible. EMIL FLOCK

INTERNATIONAL PAPER

When I changed to a digital darkroom, I experimented with every inkjet paper I could find.

Jet Print Photo Paper's Satin Surface gives my images a very rich feel-ink to paper-which makes the images come alive.

When I print my images, it's the one-to-one communication between creator and viewer that matters. Jet Print Photo Paper allows me to achieve that goal every time. My clients like the paper because it is presentation-ready, creating a seamless workflow. ART BECKER

LEGION

When choosing a paper, I look for a material that compliments and defines the particular style or direction of my work and ultimately my final print.

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