“The industry’s most respected photographers, brought together for the new Print Your Legacy campaign from Epson, talk about what drew them to photography, the inspiration that drives their work and the stories behind their most famous images.”

Hear these photographers celebrate the power of the print.

John Paul Caponigro
Jeremy Cowart
Gregory Crewdson
Steve McCurry
Mark Seliger
Tim Tadder
Amy Toensing
Stephen Wilkes

EpsonLegacyPapers

“Legacy Papers marry the artistry of revered European paper making with the latest advancements in inkjet coating technology.

Working with the finest paper mills in Germany and France we first specify the type of base required for each of the Legacy papers. Once the base is produced, advanced microporus coatings are applied using modern techniques for the highest quality and consistency.

Only after meeting hundreds of design specifications, while ensuring for a high rate of production consistency for the richest blacks, outstanding color fidelity and smooth tonal transitions, will a paper carry the Epson Legacy name.”

The First Four Epson Legacy Papers

  • Legacy Platine: 100 percent cotton fibre paper with a bright OBA-free, smooth satin finish. With a unique feel of an artistic paper of centuries past, along with an outstanding color gamut, this paper is exceptional for both color and black and white printmaking.
  • Legacy Fibre: 100 percent cotton fibre 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: A baryta paper with a white, smooth satin finish, utilizing 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: 100 percent cotton fibre paper with a bright OBA-free, uniquely textured matte finish beloved by artists for centuries. This paper has the feel of traditional etching papers.

Find out more here.

“The combination of Epson Legacy Paper and Epson UltraChrome® HD and HDX pigment ink technology can provide up to twice the Display Permanence Ratings of previous generation inks, according to tests conducted by the Wilhelm Imaging Research, Inc.”

Find out more here.

Epson’s new Legacy Papers are the finest papers I’ve ever used.

Find out more about Epson Legacy Papers here.

Hear what other photographers are saying about them.

Use them in my digital printing workshops.

In this video …

I describe what motivates me to make my images.

I celebrate the power of prints.

And I discuss why I choose to print with Epson printers, inks, and papers.

Learn more in my digital photography and digital printing workshops.

Find out more about Epson’s new Legacy papers here.

EpsonP800

“Epson recently announced the highly anticipated SureColor® P800 printer, representing a new benchmark in photographic print quality. Designed for professional use, the SureColor P800 is a full 17” wide borderless printer with unique Epson® MicroPiezo® AMCTM printhead technology. Leveraging an all-new Epson UltraChrome® HD eight-color pigment ink set, the SureColor P800 is capable of producing the next generation of color and black-and-white prints that will inspire us all.”

An optional Roll Paper Adapter, for panoramic prints up to 10’ long, will be available for the P800.

Read more about the P800 here.

This news brings two milestones; black density and longevity.

Initial color tests suggest that the new printer / ink technology is capable of delivering a maximum black (dmax) exceeding 2.8 (previously 2.5). By comparison selenium toned silver gelatin is close to 2.4.

And …

Initial longevity test suggest that longevity is improved – dramatically.

“WIR Display Permanence Ratings for black and white prints made with UltraChrome HD inks using Epson’s “Advanced Black and White Print Mode” will likely exceed 400 years.” “The new UltraChrome HD pigment inks are also expected to have WIR Album and Dark Storage Permanence Ratings well in excess of 200 years.”

“With the increased Dmax, wider color gamut, and reduced metamerism provided by the new Epson UltraChrome HD pigment inks – which taken together serve to significantly enhance the visual brilliance of both color and black and white images – the increased overall permanence of the prints represents a significant contribution to photography,” said Henry Wilhelm, founder and director of research at Wilhelm Imaging Research.

Read more about the P800 permanence ratings here.

Yes! You can test the P800 in my digital printing workshops.

Learn more in my digital printing workshops.

Kim Weston shares insights from his life in the arts steeped in the history of black and white photography.

Read more in my black and white resources.

Learn more in my Black & White Mastery digital printing workshop.

John Sexton shares insights from his distinguished career in black and white photography.

View more in my conversation with John Sexton.

Read more in my black and white resources.

Learn more in my Black & White Mastery digital printing workshop.

Dan Steinhardt and Tony Corbell discuss their black and white workflows from input to output.

Read more in my black and white resources.

Learn more in my Black & White Mastery digital printing workshop.

Tonight & Tomorrow – 2 Seminars In Atlanta

October 4, 2012 | Comments Off on Tonight & Tomorrow – 2 Seminars In Atlanta |

During the Atlanta Celebrates Photography Festival I’m presenting two seminars.

Thursday Oct 4 at 6:30-9 pm at ASMP I’m presenting a new seminar Process. I reveal many aspects of my creative process in ways designed to help others. This Canon sponsored event is free and open to the public. So far the response to my new exhibit/book Process has been very enthusiastic. Find out more here.

Friday Oct 5 at 7-9 pm at Showcase Photo Video I’m presenting a new seminar Game Changers.See it and you’ll think about making photographs in many new ways.Find out more here.

Find more of my upcoming  events here. 

Learn more with my free enews Insights.


I’m having a great time printing this series of images!

At first glance, they look like classic black and white images. In reality, they’re full color captures of a near neutral subject, processed and printed as color images. The trace amounts of color from the original subject make a very subtle but meaningful addition to the final image and print.

The trace amounts of color in the image are so subtle, I wasn’t sure which color management options would yield the best printed results; shadow detail, gradation, neutrality and graybalance all play major roles.

To get the final prints today, I tested multiple printer color management routes (Photoshop, Printer, Printer Adv B&W)(my ImagePrint tests are pending). Using Printer color management  for color offered the results I was looking for – not Photoshop, which clipped deep shadow detail and not Printer Adv B&W which rendered warm grays by default and cool toning solutions added more cool toning to the highlights than the shadows making the prints look like they carried a faint color cross).

They’re really touchy images. I found out how touchy when I went from 4×6 proofs to 11×14 prints, which when enlarged looked slightly lighter and lower contrast. A contrast curve for enlargement solved this.

At larger scale the noise became an issue, which I’m sleeping on. On the one hand, the subject is made of particles of water, which you can see when you are there. On the other hand it looks distracting to people who don’t know this. Water blurs with motion but the motion is frozen in these very fast exposures. I polled other people around me (including my father). Then I settled on an unexpected solution. I let some of the noise come through only in the areas of greatest focus, drawing slightly more attention to them. (Some noise can makes images appear sharper.)

There was a another surprise. I tested the images on glossy paper (Epson Exhibition Fine Art Paper). The extra depth in the blacks made another improvement in the image, so much so that it was worth the trade off for the soft surface of the matte paper. I made a similar test with a related series, Fumo, and didn’t make this choice. But here it was clear. This is the first time I’ve made my final prints on glossy paper.

I made these images while scouting my 2011 Focus On Nature workshop with Ragnar Th Sigurdsson and Arthur Meyerson. Arthur and I, two colorists who love the colors black gray and white and talk about them as colors.

I’m looking forward to returning to Iceland (and this waterfall) this August to lead a workshops again for Focus On Nature with +Einar Erlendsson , +Ragnar Th. Sigurdsson and +seth resnick .  +Arthur Meyerson Arthur Meyerson will join us at the end of our Iceland workshop for our Arctic Voyage workshop/cruise from Longyearben to Greenland and finally back to Iceland.

We have a few more spaces left our Iceland workshop.

There’s one space left in our Greenland workshop.

There are a two more spaces in my Fine Digital Print Advanced workshop.

Learn more in my digital photography and digital printing workshops.


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