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The paper is much more than just a support in a photographic project, it can become a true and proper communicator: it provides information to our brain that we often unconsciously translate into thoughts, intentions and emotions.The paper represents the "non-verbal language" of a printed project

Fabriano test B & W




Past and present: top left a face printed with pigment inks on Hp 9180 (a very advanced A3 printer that gave excellent results) on Fabriano n.4, Below image of a chair in face a crumbling wall, from a four-color (black and white of good quality) on Hp 1220C: one tank for black and other containing CMY dye ink colors. In both cases, after more ten years, each images are in excellent condition for a paper (Fabriano n.4) not specifically created for inkjet printers.
On the right, instead, always the 200 sgm Fabriano n. 4 with the ink dye of the Canon Pixima Pro 200, bellow was not imaginable ten years ago: a contact proof via soft Professional Print & Layout, a help for see right Contrast-Luminosity and toned color; sheet to make right value final print in Professional Page & Layout, software free downloadable for all new Pro printers of Canon. And allows exponentially to have already nice results. Software, ecosystem, that in a single screen, unlike the panels of Pshop (from which you can, however and regardless directly pilot final print) with the first attempts, associating ICC profiles internal to the program and it via printer and its menu you do not have to worry for get a good results. And therefore the printing on Fabriano and all brand(y) papers the same in a more than satisfactory way via soft Canon PP&L and printer, in my case, Prod 200.



Note: is it a simulation because the monitor does not allow you to see, literally, the different nuances of print each to others; so I had to accentuate steps between them to get an "idea" of final print.
Fabriano n. 4 in A4 format and 200 sgm of a bit glossy surface: from left to right n. 1 loaded in Professional Page & Layout software of Canon, in box Media select Carta Washi (on printer menu Pixma Pro 200 Canon, select same as Japanese paper) and Auto in the box ICC e finally go to print.
The 2 had, always in Page & Layout, an adjustment on lower tones of the curve (which can be saved and reused later as needed).
The 3 what is possible "simulate" by acting in Pshop or similar, or you can in soft Personal Page & Layout a fine tune. And, again, a feature that is possible generate a proofs (pre-visualizations on paper) as once in Analog Era in Dark-romm. In practice you get, in the very user friendly black & white printing module, the Brightness and Contrast values to be used in final print; or make images "toning", in the same way as in used (also nowadays for true connoisseurs printer-maker) in dark-rooms between chemicals: Selenium toner Sepia or even gold!
Note that Fabriano 4 because of its surface condition allows a "wax" same process make in early XX Century, a way to give brightness to blacks that, on matt surface, suffers otherwise as glossy papers. Again my tests with “vax” the blacks and grayscale acquire more intense "depth". Vice versa same results if on paper is sprayed with Maimeri 609 varnish a real must and the undoubted advantage, also protecting of UV rays. And associated a glass same treatment UV, under it paper will have a very long life, provided and condition that the same print is kept in a suitable place and light: nothing is eternal under the sky



the Rosaspina, which does not need any presentation as it is well known by the masters who use it for drawings and wet techniques, 220 sgm, with a velvety and pleasant touch, transmits an excellent vibration and a nice sound***. And if as happened by mistake to print from the back, you find yourself a surface let's say textured similar to canvas for artists!
And it must be said even if it puts fearful experimenters on the run: the Rosaspina Fabriano "drinks" and absorbs like a sponge (which all porous surfaces of other brands do) so that with the Canon Pixima 200 you have to find the mix, let's say, of "inking" possible in view of the fact that, lacking the layer of barium sulfate or other the surface, and this again applies to all papers produced by third parties, on the Rosaspina the inks tend to sink (spread) between the fibers. Translated: a patina that mixes everything and questionable contrast.
However there's no denying the Fabriano Rosaspina beyond the structural softness and good feeling has not convinced me much, and to be a single test it necessary come back in next testing


Emblematic image between worlds: analog and digital. In the background the Fabriano 4 image has been treated (after eleven years first printed!) with Renassance wax to enhance the blacks, given that the surface is not exactly shiny, just as at the beginning of the 20th century photographers did their best not only to make the blacks brighter but also to give extra contrast to the grey scale, given that they were printing on opaque supports. And finally, how digital has somehow recovered an modus operandi



Artistcio Fabriano Extra White pure cotton on 300 gsm: The Champion. This paper for my test is literaly a Number One: sharpness contrast and black is the Must. Impossible to see because the damn monitor slaughters all nuances of gray scale. Artistico Extra White a perfect substitute of papers of rinomate Brand. The best.
Note that result on print is from negative HP5 Ilford translate in digital thanks Olympus E1 (only five mega!) the dream camera from twenty year ago! Camera and an astonish Macro Zuiko lens: Chapeau!

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