fine art range publicity report

Fine Art Update Publicity Document

Collection of the publicity gathered for the PermaJet fine art range update.

• Includes of technical reports and reviews.

• Digital and printed media.

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www.swpp.co.uk Price when sold £5.00

February – March 2016 Issue 82

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THIS ISSUE:Photographer of the Year 2015Convention 2016 ReportThe 16x20 print CompetitionCharlotte Moss – Meet the JudgesQualifications at Convention 2016Angela Adams talks to Nicki KirkPermaJet – New Fine Art RangePresenting your best side – Gavin StokerDxO One reviewed

Two Continents – Paul Gallagher and John RowellNikon D810Nikon D5 – The New FlagshipCanon EOS 1D x MkIIMacphun Aurora HDRThinktank – Mindshift BacklightJulia Margaret Cameron at 200 yearsCharlotte Moss on The Taylor Wessing Exhibition

Fellowship – Mark SeymourPaul Gallagher – The Black and White DarkroomDave Montizambert and Sylvianne St OngeStuart Wood – JerichoPriestley College – Class of 2015John Denton's Lighting LabAlice Gregory's Convention

The SWPPThe SICIPThe SIMPPThe SISLPThe SITTPThe SINWPThe SISEPThe SIFGP

As you can see, there is plenty to go at and the loss of four surfaces from the original range (Portrait Velvet, Papyrus, Parchment and DS Portrait) will hardly be noticed by many users. In some ways the simplification will bring benefits as there will be less need for the user to agonise and test as many products!

Changes to the workflow are hardly needed, but we took the new papers and ran them through our standard audit routines which includes making bespoke profiles. For completeness we have added back some legacy data for the unchanged products. The weight reductions should help with media transport issues that sometimes arise with weightier papers (there is a limit of 500 microns on an Epson 3880, 270 microns on the auto feed of the 4900 and 790 microns on the manual rear feed of the 4900. Despite this we had a train crash using Museum Heritage on the rear slot of the 4900).

The inclusion of alpha cellulose in Museum Heritage is intended to reduce the occurrence of paper cutting shards contaminating the printed surface

– a small fragment of rag fibre can spoil a print. The stiffness imparted by the alpha cellulose might have added to the transport problems; it is not insurmountable, it just needs a bit of care.

Our last full review of the PermaJet range was in 2010 (when we used an Epson 3800, 3880, 4800 and 4880). When choosing a paper it is essential to consider the whole range, some favourites have been left unchanged

and are as good today as when they were introduced. Generally, the legacy data are comparable to those measured recently except that the extended gamut of the 4900 HDR ink set has improved the range of Pantones that can be reproduced and improved the statistics for the HiGAM patch set in our audits. Because our testing protocols have become more stringent, we have only included legacy data which is relevant or noted the changes with the data.

Choosing a paper for its texture is self-evidently a personal matter. You give up some highlight detail in the undulations but little else. Personally I do not care for the surface of the Artist Watercolour, others may hold different views!

The choice of base tone and OBA tolerance is more amenable to measurements. Gallery Etching and Artists Watercolour are OBA free and slightly creamy – they join Alpha Natural in this regard. Museum Heritage and Portrait Rag have slightly elevated Fluorescence values and a moderate loading of OBAs. Photo Art Silk is almost 4 points toward blue (ie cooler)and has a Fluorescence of 6.8 and joins Portrait White at the cool end of the range. As the graph shows, the base tones of Portfolio Rag, Omega Rag, Museum Heritage and Portrait Rag are closer to neutral.

PermaJet launched a new range of fine art inkjet media at the Convention this year. They have taken the opportunity to rationalise the line-up, tweak some products and develop a number of brand new ones. After 15 years of service the less popular media have been retired and user feedback has been employed to improve other products. The fine art line-up thus looks like this*:

PermaJet Fine Art

Smooth Fine Art Textured Fine Art

Portfolio Rag 220gsm MUSEUM HERITAGE 310gsmPORTRAIT RAG 285gsm ARTIST WATERCOLOUR 250gsmPortrait White 285gsm GALLERY ETCHING 310gsmAlpha Natural Rag 310gsmOmega Rag 310gsm PHOTO ART SILK 290gsm

*New products are denoted by all upper-case letters.

PermaJet Fine Art Range 2016 Summary Data

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L a b Dmax CII GVGV

3880Smooth Fine Art

Portfolio Rag 220gsm 0.37 -0.4 1.61 2.26 532,446

PORTRAIT RAG 285gsm 510 95.7 -1.06 2.9 93.8 99.3% 97.2 1.03 -0.55 1.65 3.31 619,098 582,561

Portrait White 285gsm 1.3 -4.24 1.64 1.19 579,834

Alpha Natural Rag 310gsm -0.21 2.34 1.63 1.28 545,251

Omega Rag 310gsm 0.6 -0.37 1.62 1.23 528,271

PHOTO ART SILK 290gsm 480 103.6 -0.41 6.8 101.4 98.5% 98.5 1.41 -3.61 1.78 3.37 676,217 519,299

Textured Fine Art

MUSEUM HERITAGE 310gsm 500 94 -1.2 4.3 92.8 0.996 97.2 0.93 0.06 1.61 2.39 626,170

GALLERY ETCHING 310gsm 520 88.6 -1.15 1.5 89 0.984 97.7 -0.02 3.65 1.58 2.59 594,745

ARTIST WATERCOLOUR 250gsm 430 90.5 -0.89 0.8 89.9 0.983 97.8 -0.11 3.23 1.65 2.54 614,492

The rear slot feeder of the Epson 4900 is required for these heavier art surfaces. Experience at the Epson Print Academy has taught us that many

people are unaware of the loading variations available – you really do need to read the manual!

Portrait Rag doing what it does best – making portraits!

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Statistics Weighted Component Errors

Patch Set Avg ΔE00

MEDIAN ΔL/w ΔC/w ΔH/w

All 216 3.10 2.77 1.44 0.29 -0.30

Fogra V3 2.96 2.65 2.26 0.57 0.03

CC 24 2.80 2.55 1.07 -0.19 -0.99

HiGAM 3.81 3.66 0.83 -2.34 -1.16

Skin Tones 2.58 2.80 0.25 -1.46 -1.89

Greys 4.23 3.93 1.47 3.12 -0.34

MMcN4900_PjetPhArtSilk_16_USFAPQual_SDA.xlsx

Dmax CII Gamut Volume

1.78 3.37 676,217

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103.6 -0.41 6.8 101.4 98.5 1.41 -3.61


Patch Set Avg ΔE00


All 216 3.62 3.17 1.82 -0.88 -0.45

Fogra V3 3.99 3.92 2.58 -0.54 -0.63

CC 24 2.89 2.71 1.30 -0.98 -0.49

HiGAM 4.99 4.22 1.51 -3.78 -1.38

Skin Tones 1.88 1.39 0.38 -1.12 0.58

Greys 3.82 2.65 1.99 1.74 0.17

MMcN4900_PjetGal Etch_16_TFAP_SDA.xlsx


1.59 2.59 594,745

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88.6 -1.15 1.5 89 97.7 -0.02 3.65

Ordering the media on Lab b values yields the following list:

MEDIA Lab b TONE

GALLERY ETCHING 310gsm 3.65

ARTIST WATERCOLOUR 250gsm 3.23

Alpha Natural Rag 310gsm 2.34

MUSEUM HERITAGE 310gsm 0.06

Omega Rag 310gsm -0.37

Portfolio Rag 220gsm -0.4

PORTRAIT RAG 285gsm -0.55

PHOTO ART SILK 290gsm -3.61

Portrait White 285gsm -4.24

PORTRAIT RAG 285gsm

This classic from the PermaJet range retains its 100% cotton base and subtle texture while making it marginally lighter at 285gsm. This product is acid-free and meets the highest digital art standards.

Certified by an independent UKAS laboratory this material, like many PermaJet products, exceeds the Fine Art Trade Guild’s archival standards and is ideal for Art and Photo reproductions. The original media has been used for many years as a standard for comparing printer performance. The surface retains detail superbly. Key statistics from the audit are the very low values for the Macbeth errors and skin tone errors of less than 2.0, the error in skin tone lightness values was zero.

PHOTO ART SILK 290gsm

The popular surface and finish of the Smooth Art Silk has been updated to a 290gsm base offering printer-friendly loading. The unique ink-receiving layer that exhibits the silk/satin sheen once

printed on has been developed to give greater colour vibrancy and increased scratch resistance.

Previously we have measured slightly lower gamut volumes for this media but not this time; this returned the highest values of the range, 30% higher than the last data set with the highest Dmax also at 1.78.

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Permajet Fine Art 2016Base White Tones

Portfolio Rag 220gsm

PORTRAIT RAG 285gsm

Portrait White 285gsm

Alpha Natural Rag 310gsm

Omega Rag 310gsm


MUSEUM HERITAGE 310gsm

GALLERY ETCHING 310gsm

ARTIST WATERCOLOUR 250gsm


Patch Set Avg ΔE00


All 216 2.72 2.29 1.15 -0.78 -0.23

Fogra V3 2.79 2.56 2.02 -0.38 0.02

CC 24 2.24 2.14 0.60 -0.91 -0.71

HiGAM 4.44 3.64 0.55 -3.24 -1.23

Skin Tones 1.86 1.50 -0.01 -1.50 -0.68

Greys 2.86 1.85 1.20 1.29 -0.09

Copy of MMcN4900_PjetPort Rag285_16_USFAPQual_SDA.xlsx


1.65 3.31 619,098

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95.7 -1.06 2.9 93.8 97.2 1.03 -0.55


"The new Museum Heritage has been developed in co-operation with high-quality image reproduction labs to ensure it delivers the maximum structure where ink can reside and be retained making it the toughest art surface the world has seen to date."

This is a 310gsm natural white art paper with a pH neutral base that is delicately textured. Produced from a mix of cotton and alpha cellulose which gives a soft feel while retaining the rigidity the art printing and

framing makers demand. Museum Heritage 310 delivered a good gamut volume of 626,217, the highest of the textured media and a colour error overall of just 3 points

PermaJet claim that the latest inkjet technology addresses ink transfer issues in previous versions to provide superior ink retention and full archival stability. The moderate level of OBAs will give it a bit of a lift to the tones.


Patch Set Avg ΔE00


All 216 3.01 2.58 1.56 -0.91 -0.33

Fogra V3 3.04 2.85 2.30 -0.41 -0.26

CC 24 2.71 2.63 1.05 -1.03 -0.84

HiGAM 4.53 3.69 0.91 -3.30 -1.27

Skin Tones 1.88 1.42 0.21 -1.33 -0.78

Greys 3.17 2.05 1.66 0.94 -0.04

MMcN4900_PjetMusHerit_16_TFAPQual_SDA.xlsx


1.61 2.39 626,217

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94 -1.2 4.3 92.8 97.2 0.93 0.06


Patch Set Avg ΔE00


All 216 3.57 2.99 1.60 -0.68 -0.52

Fogra V3 3.93 3.94 2.39 -0.35 -0.84

CC 24 2.85 2.87 1.07 -0.85 -0.44

HiGAM 4.55 3.76 0.86 -3.42 -1.51

Skin Tones 1.98 1.54 0.19 -0.97 0.89

Greys 3.84 2.67 1.72 2.04 0.21

MMcN4900_PjetArtWC_16_TFAPQual_SDA.xlsx


1.65 2.54 614,492

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90.5 -0.89 0.8 89.9 97.8 -0.11 3.23


The Artist Watercolour 250gsm textured art paper has an off-white base tone and is made from alpha cellulose. The mould-made base material has a highly defined rough surface that delivers incredible fine art

prints. The strength of the tooth is more akin to a pastel paper or one that might be used for charcoal work. It is suited to the reproduction of artists' watercolour work or the output of photographic images from which you wish to achieve subtle artistic impressions. It has the second highest colour gamut volume of its group and a Dmax of 1.65, the highest of the group. The highlight end of the range is a little compressed as detail is lost in the structure beyond 246 RGB points. Conversely, the shadow detail is excellent, differentiating all the way down to 20 RGB points.


The heavy weight, alpha cellulose 310gsm base is reminiscent of a modern-day etchings paper exhibiting a consistent and undulating matt coated surface. Its natural whiteness works in harmony with any

artistic or creative photographic image.

The stand-out statistics of the audit are exceptional skin tone accuracy and a Macbeth set under 3.0 ΔEoo.

Although the base tones are only subtly different, the OBA activity is strongly revealed by UV light.

The PermaJet Fine Art Range

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Testing with Canon Pixma Pro 10s

By coincidence we had the opportunity to test some PermaJet papers on the Canon Pixma Pro 10s. This is a 10-ink machine using Lucia inks including three blacks/

greys for improved monochrome renderings. It also sports a Chroma Optimizer to enhance glossiness and expand the gamut. A noteworthy feature of the testing was the disastrous installation onto the Mac operating system (it wasn't us guvnor the client did it!). It is vital with some consumer printers to install the driver software first and THEN plug the printer USB in. Not doing so causes the Mac to install the Gutenprint driver which is an open-source driver which disables the colour management. This is evident by the greyed out dialogue radio boxes in the driver that you ordinarily expect to see. It's a long story but we were unable to resolve the issue on our first visit but we did audit the results we had obtained using the Gutenprint driver and at least left the client with the ability to run work out. Interestingly, the output was quite good once a suitable media setting had been matched to the PermaJet Art Silk (we settled on Canon1/2 Pro paper Glossy Gold). The result was an average error of just 3.3∆Eoo which is good for this class of material without bespoke profiling. We were unable to bespoke profile because we could not disable the printer colour management in the interfaces we were being offered. For anybody who is suffering from this issue, the solution is to delete the printer in the Mac system, unplug the USB, install the latest drivers and then plug the printer back in.

We are minded to come back to this issue and get the new Prograf Pro 1000 printer in for a review and really get to grips with things – watch this space!


Patch Set Avg ΔE00


All 216 3.30 3.08 -0.81 -1.01 0.02

Fogra V3 2.41 2.48 0.22 -0.49 0.45

CC 24 3.63 3.66 -1.54 -1.61 -0.57

HiGAM 5.07 4.67 -2.36 -3.35 -0.32

Skin Tones 3.78 3.56 -2.52 -1.69 -0.83

Greys 3.14 2.85 0.07 1.52 -0.22

Pjet Smth Art Silk on Pro Paper Glossy Gold Gutenprint


1.85 2.07 NA


Overall then the rationalisations and refinements of the Permajet Fine Art range are a useful addition to the media landscape. They perform every bit as well as their predecessors and in some cases better. PermaJet have a test pack available at £9.96 ex VAT, one for Smooth Fine Art, one for Textured Fine Art. The pack also includes a swatch set. Go try it for yourselves, you won't be disappointed!

OVERALL

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Macbeth Lab Plot

dark skin light skinblue skyfoliageblue flower bluish greenorangepurplish bluemoderate redpurpleyellow greenorange yellowblue green red yellow magentacyanwhite neutral 8neutral 6.5 neutral 5 neutral 3.5black

The Lab plot of the Macbeth tones shows the colours being driven to less saturated renderings probably as a result of the Gutenprint driver. The red suffers the most with

the highest errors in saturation. The HiGAM patches also suffer as they generally reside outside the capabilities of the printer/media combination, the weighted chroma error

in the table above is far and away the largest. We would need to do a lot more work to confirm this finding.

If you wish to know more about digital printing,

including killing the Gutenprint driver then Jeff Schewe's book is the place

to go!

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52 8252 82 PAPERCHASE: Part 58










PermaJet Fine Art





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3880Smooth Fine Art


PORTRAIT RAG 285gsm 510 95.7 -1.06 2.9 93.8 99.3% 97.2 1.03 -0.55 1.65 3.31 619,098 582,561



Omega Rag 310gsm 0.6 -0.37 1.62 1.23 528,271


Textured Fine Art







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PermaJet Fine Art





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L a b Dmax CII GVGV

3880Smooth Fine Art


PORTRAIT RAG 285gsm 510 95.7 -1.06 2.9 93.8 99.3% 97.2 1.03 -0.55 1.65 3.31 619,098 582,561



Omega Rag 310gsm 0.6 -0.37 1.62 1.23 528,271


Textured Fine Art







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Patch Set Avg ΔE00


All 216 3.10 2.77 1.44 0.29 -0.30

Fogra V3 2.96 2.65 2.26 0.57 0.03

CC 24 2.80 2.55 1.07 -0.19 -0.99

HiGAM 3.81 3.66 0.83 -2.34 -1.16

Skin Tones 2.58 2.80 0.25 -1.46 -1.89

Greys 4.23 3.93 1.47 3.12 -0.34



1.78 3.37 676,217

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103.6 -0.41 6.8 101.4 98.5 1.41 -3.61


Patch Set Avg ΔE00


All 216 3.62 3.17 1.82 -0.88 -0.45

Fogra V3 3.99 3.92 2.58 -0.54 -0.63

CC 24 2.89 2.71 1.30 -0.98 -0.49

HiGAM 4.99 4.22 1.51 -3.78 -1.38

Skin Tones 1.88 1.39 0.38 -1.12 0.58

Greys 3.82 2.65 1.99 1.74 0.17



1.59 2.59 594,745

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88.6 -1.15 1.5 89 97.7 -0.02 3.65


MEDIA Lab b TONE










PORTRAIT RAG 285gsm







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PORTRAIT RAG 285gsm



Omega Rag 310gsm






Patch Set Avg ΔE00


All 216 2.72 2.29 1.15 -0.78 -0.23

Fogra V3 2.79 2.56 2.02 -0.38 0.02

CC 24 2.24 2.14 0.60 -0.91 -0.71

HiGAM 4.44 3.64 0.55 -3.24 -1.23

Skin Tones 1.86 1.50 -0.01 -1.50 -0.68

Greys 2.86 1.85 1.20 1.29 -0.09



1.65 3.31 619,098

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95.7 -1.06 2.9 93.8 97.2 1.03 -0.55







Patch Set Avg ΔE00


All 216 3.01 2.58 1.56 -0.91 -0.33

Fogra V3 3.04 2.85 2.30 -0.41 -0.26

CC 24 2.71 2.63 1.05 -1.03 -0.84

HiGAM 4.53 3.69 0.91 -3.30 -1.27

Skin Tones 1.88 1.42 0.21 -1.33 -0.78

Greys 3.17 2.05 1.66 0.94 -0.04



1.61 2.39 626,217

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94 -1.2 4.3 92.8 97.2 0.93 0.06


Patch Set Avg ΔE00


All 216 3.57 2.99 1.60 -0.68 -0.52

Fogra V3 3.93 3.94 2.39 -0.35 -0.84

CC 24 2.85 2.87 1.07 -0.85 -0.44

HiGAM 4.55 3.76 0.86 -3.42 -1.51

Skin Tones 1.98 1.54 0.19 -0.97 0.89

Greys 3.84 2.67 1.72 2.04 0.21



1.65 2.54 614,492

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Patch Set Avg ΔE00


All 216 3.10 2.77 1.44 0.29 -0.30

Fogra V3 2.96 2.65 2.26 0.57 0.03

CC 24 2.80 2.55 1.07 -0.19 -0.99

HiGAM 3.81 3.66 0.83 -2.34 -1.16

Skin Tones 2.58 2.80 0.25 -1.46 -1.89

Greys 4.23 3.93 1.47 3.12 -0.34



1.78 3.37 676,217

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103.6 -0.41 6.8 101.4 98.5 1.41 -3.61


Patch Set Avg ΔE00


All 216 3.62 3.17 1.82 -0.88 -0.45

Fogra V3 3.99 3.92 2.58 -0.54 -0.63

CC 24 2.89 2.71 1.30 -0.98 -0.49

HiGAM 4.99 4.22 1.51 -3.78 -1.38

Skin Tones 1.88 1.39 0.38 -1.12 0.58

Greys 3.82 2.65 1.99 1.74 0.17



1.59 2.59 594,745

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MEDIA Lab b TONE










PORTRAIT RAG 285gsm







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PORTRAIT RAG 285gsm



Omega Rag 310gsm






Patch Set Avg ΔE00


All 216 2.72 2.29 1.15 -0.78 -0.23

Fogra V3 2.79 2.56 2.02 -0.38 0.02

CC 24 2.24 2.14 0.60 -0.91 -0.71

HiGAM 4.44 3.64 0.55 -3.24 -1.23

Skin Tones 1.86 1.50 -0.01 -1.50 -0.68

Greys 2.86 1.85 1.20 1.29 -0.09



1.65 3.31 619,098

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95.7 -1.06 2.9 93.8 97.2 1.03 -0.55







Patch Set Avg ΔE00


All 216 3.01 2.58 1.56 -0.91 -0.33

Fogra V3 3.04 2.85 2.30 -0.41 -0.26

CC 24 2.71 2.63 1.05 -1.03 -0.84

HiGAM 4.53 3.69 0.91 -3.30 -1.27

Skin Tones 1.88 1.42 0.21 -1.33 -0.78

Greys 3.17 2.05 1.66 0.94 -0.04



1.61 2.39 626,217

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94 -1.2 4.3 92.8 97.2 0.93 0.06


Patch Set Avg ΔE00


All 216 3.57 2.99 1.60 -0.68 -0.52

Fogra V3 3.93 3.94 2.39 -0.35 -0.84

CC 24 2.85 2.87 1.07 -0.85 -0.44

HiGAM 4.55 3.76 0.86 -3.42 -1.51

Skin Tones 1.98 1.54 0.19 -0.97 0.89

Greys 3.84 2.67 1.72 2.04 0.21



1.65 2.54 614,492

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90.5 -0.89 0.8 89.9 97.8 -0.11 3.23










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8

Testing with Canon Pixma Pro 10s

By coincidence we had the opportunity to test some PermaJet papers on the Canon Pixma Pro 10s. This is a 10-ink machine using Lucia inks including three blacks/

greys for improved monochrome renderings. It also sports a Chroma Optimizer to enhance glossiness and expand the gamut. A noteworthy feature of the testing was the disastrous installation onto the Mac operating system (it wasn't us guvnor the client did it!). It is vital with some consumer printers to install the driver software first and THEN plug the printer USB in. Not doing so causes the Mac to install the Gutenprint driver which is an open-source driver which disables the colour management. This is evident by the greyed out dialogue radio boxes in the driver that you ordinarily expect to see. It's a long story but we were unable to resolve the issue on our first visit but we did audit the results we had obtained using the Gutenprint driver and at least left the client with the ability to run work out. Interestingly, the output was quite good once a suitable media setting had been matched to the PermaJet Art Silk (we settled on Canon1/2 Pro paper Glossy Gold). The result was an average error of just 3.3∆Eoo which is good for this class of material without bespoke profiling. We were unable to bespoke profile because we could not disable the printer colour management in the interfaces we were being offered. For anybody who is suffering from this issue, the solution is to delete the printer in the Mac system, unplug the USB, install the latest drivers and then plug the printer back in.

We are minded to come back to this issue and get the new Prograf Pro 1000 printer in for a review and really get to grips with things – watch this space!


Patch Set Avg ΔE00


All 216 3.30 3.08 -0.81 -1.01 0.02

Fogra V3 2.41 2.48 0.22 -0.49 0.45

CC 24 3.63 3.66 -1.54 -1.61 -0.57

HiGAM 5.07 4.67 -2.36 -3.35 -0.32

Skin Tones 3.78 3.56 -2.52 -1.69 -0.83

Greys 3.14 2.85 0.07 1.52 -0.22

Pjet Smth Art Silk on Pro Paper Glossy Gold Gutenprint


1.85 2.07 NA


Overall then the rationalisations and refinements of the Permajet Fine Art range are a useful addition to the media landscape. They perform every bit as well as their predecessors and in some cases better. PermaJet have a test pack available at £9.96 ex VAT, one for Smooth Fine Art, one for Textured Fine Art. The pack also includes a swatch set. Go try it for yourselves, you won't be disappointed!

OVERALL

-80

-60

-40

-20

0

20

40

60

80

100

-60 -40 -20 0 20 40 60

Macbeth Lab Plot

dark skin light skinblue skyfoliageblue flower bluish greenorangepurplish bluemoderate redpurpleyellow greenorange yellowblue green red yellow magentacyanwhite neutral 8neutral 6.5 neutral 5 neutral 3.5black

The Lab plot of the Macbeth tones shows the colours being driven to less saturated renderings probably as a result of the Gutenprint driver. The red suffers the most with

the highest errors in saturation. The HiGAM patches also suffer as they generally reside outside the capabilities of the printer/media combination, the weighted chroma error

in the table above is far and away the largest. We would need to do a lot more work to confirm this finding.

If you wish to know more about digital printing,

including killing the Gutenprint driver then Jeff Schewe's book is the place

to go!

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Notes

PermaJet1a Black Hill Industrial Estate

Warwick RoadStratford-upon-Avon

WarwickshireCV37 0PT

UNITED KINGDOM (England)

[email protected]+44 (0)1789 739 200

fine art range publicity report

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