What is the best epson photo paper
The market has become rather well-supplied with a number of high quality papers, hence any company bringing yet more offerings to market should have both good reason and something special to offer. The Epson Legacy Paper Packaging Epson does. Not privy to inside information, my hunch is that Epson looked at its paper line-up relative to all of its new printer models and decided that there were important gaps in its offerings being satisfied by third-party paper makers, so why not fill these gaps with their own.
While Epson has been quite strong in papers using MK ink, its line-up for PK papers lacked Baryta and Platine type papers, and its matte line deserved a freshening-up with matte papers that are thick, quite white without OBAs, and having smooth or textured surface. Hence, for now, the four new offerings from Epson: Legacy Baryta with very small OBA contentLegacy Platine, Legacy Fibre and Legacy Etching — the latter three Epson says have no OBAs. One statement on the sample packs clarifies, the origins of the papers: I do, however, have results discussed below on the subject of Black rendition.
My approach to evaluating these papers is pretty much the same as I have done for papers and printers in the past: I did not, however, reproduce a set of test target prints using these papers in the Insight from Profile Analysis Epson and Canon Printers Some interesting observations emerge from these numbers: The differences being discussed here between similar paper types, as you can see, are not really large ones, but some could have a subtle impact on print appearance.
Of greater interest are the comparative outcomes printing on these papers compared with other similar offerings. The two ways of going about this of course are i to measure outcomes using printed test targets with known colour values, and ii just look at the prints and see what qualities they show. I have done both for this review. It generated many sheets of paper and Excel spreadsheets, resulting in a respectable database and set of reference images, both test targets and real-world photographs. I made measurements from prints of the GMCC target 24 patch and the Outback target 25 patches of grayscales Figures 3 and 4and I observed outcomes by comparing prints of the Atkinson Printer Test Page figure 5 and the same twelve real world photographs displayed in my review of the Canon Pro printer.
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GMCC 24 Patch Target with Added Grayscale Figure 4. Outback Printer Test Target Red circled areas are the ones measured for neutrality Figure 5. Atkinson Printer Test Page Red rectangles mine, for gamut analysis in the Canon Pro review The main questions of interest are: All four are gsm weight and range between 12 and 20 mil thickness, depending on the paper type. I did not try any roll paper. They are all acid and lignin free, and all except the Legacy Baryta are OBA free. I have no further information on exactly what that means.
Loading more than one sheet at a time will result in mis-feeds. Other articles you may enjoy If you enjoyed this article, you may also enjoy these: A click here consideration is the type of ink and paper used; this will determine the quality of the resulting photograph and is especially important if the work is to be put on display You are now delving into the world of the professional photographer trying to achieve perfection. Annex General Guidance on Measurement Consistency As I use objective measurements to analyze the performance of printers, profiles and papers, I thought it perhaps useful to review the reliability of the measurements obtained from my i1Pro2 spectrophotometer. Of greater interest are the comparative outcomes printing on these papers compared with other similar offerings. Colour Vibrancy and Smoothness of Tonal Gradations Both these variables are best assessed by looking at real world photographs, or printer test targets that include a judicious combination of real photographs and tonal ramps. Microporous papers are ideal for achieving professional results; these come in Gloss, Satin and Pearl which offer varying outcomes, depending on what you want to achieve.
The base of the Baryta paper is Alpha Cellulose, while that for the other three is Cotton Fibre. For example, the Legacy Platine finish may be a bit softer than that of the Legacy Baryta, to judge from the feel when I write on them to identify the prints. Accuracy of Colour Rendition Using the same measurement procedure explained in the Canon Pro review, this time applied to the Epson Legacy papers and some comparators, I came up with the following results Figure 6.
The average dE values of Figure 6 are in each case an average of the dEs for each of the 24 patches in the ColorChecker. In the exceptional case where the average dE exceeds 3, the range of dE values for each patch can be anywhere from below 1 to around 7. In 12 of the 20 results reported in Figure 6 6 of which are Epson Legacy papersthe average dE is below 2, and in these cases the sizes of the deviations from the reference values for any one channel are generally small.
On the whole, the Legacy papers perform well from either printer used in this test. I also noticed that in some cases, custom profiling helped to improve results. Each of these data sets deserves some explanation and comment. Sample 16 is the blackest measured value.
Within the luster papers, none of them exceed 2. Legacy Baryta and Platine do particularly well at about 1. While these values appear high relative to the PK papers, appearance-wise it is a different story, discussed further below. I remind I am discussing all results from drivers, not RIPs. The values in Figure 7 are absolutes, i. The overall average includes the 25 measured patches in the Blacks and Whites ranges taken together for the Figure 4 target, circled areas. The closer the overall average to zero, the more neutral these ranges should appear in print. Looking over these outcomes, the Legacy papers do very well on this parameter, whether printed in the Epson P or the Canon Pro That said, they are not alone in doing well.
This means that intended tone is pretty well preserved in both printers on all but two of the papers, where the deviation is about 3 steps.
This means that in terms of human visual perception these results would all look quite neutral, especially each seen in isolation, and quite a few even compared. Colour Vibrancy and Smoothness of Tonal Gradations Both these variables are best assessed by looking at real world photographs, or printer test targets that include a judicious combination of real photographs and tonal ramps.
My favorite for this is the Atkinson printer test page shown in Figure 5 courtesy of Bill Atkinson. I have commented on saturation in the discussion under Figure 3. I would like here to revert to two observations I made about saturation and Blacks under Figure 3: While these observations emerge from the data, what they really mean for the visual appearance of prints can differ markedly depending on the photograph and how one edits it. As well, one may often find oneself editing a photo to be printed on matte paper so that appearance-wise it will come as close as possible to resembling its luster rendition.
I made the excursion into this territory because in producing the test prints of real world photographs I found that the Epson Legacy Fibre paper comes closest to preserving the matte texture and feel, while doing a really good job of handling colour saturation and Blacks, yet containing no OBAs and having a bright native white point.
This is a very good recipe indeed. Legacy Etching behaves similarly. However, as I mentioned, this process works better on some photos than others.
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Hence I provide here softproof screen-grabs of three worked examples between Legacy Baryta and Legacy Fibre papers to show what I mean. This is the outcome I aim for on Legacy Fibre paper. Same photo, same adjustments softproofed for Legacy Fibre paper Comparing Figure 10 with Figure 9, one readily sees what the issues are: So the challenges are to make this print on matte paper while trying to achieve as much of its depth as we can based on the luster rendition.
Figure 11 shows the extent of adjustment I could achieve in Lightroom 6.
Essay being what paper is epson best photo the full
I had to leave Vibrance and Saturation alone. Not shown here, I also made a slight positive adjustment of Dehaze.
In sum, this is a photo I would print on a luster rather than a matte paper. Previous renditions adjusted for Legacy Fibre paper 2 More Successful Convergence Figure Edinburgh, 8 PM, adjusted for Legacy Baryta The original editing of this photo required boosting of shadow exposure while increasing deep shadow contrast and reducing highlights to preserve the late evening lighting effect.
The overall tone and hue range of this photo is more subdued than evident in the previous example. Nonetheless, when softproofed without any amendments for Legacy Fibre paper, the result is that of Figure The main changes were moderate increases of Exposure, Contrast, Blacks and Clarity, with a very small dose of positive Dehaze and a change of Rendering Intent to Perceptual from RelCol.
As above, softproofed and adjusted for Legacy Fibre paper This rendition is at least as well contrasted and saturated as the Legacy Baryta version, the shadow detail is good and the photograph looks fine on Legacy Fibre paper. In fact, the saturation of Yellows is even a bit better in this version — they can be converged more closely one way or another. By the way, apparent sharpness is every bit as good on the one paper as the other.
The sharp reduction of Highlights brought out the clouds without risking highlights elsewhere in this photo. Shadow boost and clarity were both needed to improve micro-contrast in the very dark areas and between slightly darker and slightly lighter stone blocks.
I was particularly interested to see whether I could preserve this subtlety in a matte print, because I thought the subject matter suited itself particularly well to rendition on matte paper. Same photo with Legacy Fibre softproof, no further adjustments Figure 16 shows that without further adjustment, the matte rendition looks rather flatter than desirable, hence the main challenge was to see whether contrast and blacks could be improved without smashing shadow detail.
As above, adjusted for Legacy Fibre paper The key adjustments to achieve the result of Figure 17 were to add contrast using the tone curve, along with a best epson two point adjustment of Dehaze not shown. For this photo I actually prefer the rendition on Legacy Fibre paper, notwithstanding my usual preference for luster finishes to achieve higher dynamic range.
Wrapping up this section, the purpose was to show that when these Epson Legacy papers are well matched with the subject matter and the photos given appropriate editing, the outcomes are very good. The papers along with the inks, profiles and the printer of course do what we want them to do. Conclusions Wrapping up this review, having printed a good number of test targets and real world photographs on the four Legacy papers and several comparator papers in both the Epson P and Canon Pro printers, I have no hesitation highly recommending these Epson Legacy papers, while at the same time recognizing there are other papers on the market that on the read article can achieve similar outcomes — save for two comments as follows.
On the luster side, the Legacy Platine has a particularly pleasing feel and it gives the photos a bit of a distinctive richness that I believe will make this paper a favorite in the fine art photographic community. Epson has complemented its paper line-up respectably with these new papers. Annex General Guidance on Measurement Consistency As I use objective measurements to analyze the performance of printers, profiles and papers, Link thought it perhaps useful to review the reliability of the measurements obtained from my i1Pro2 spectrophotometer.
The key concern is the extent to which observed variances of measured values relative to their reference values are due to the behavior of the specimens being measured or rather to instrument variability; hence, whether having taken a measurement, the result is a valid statement of the behavior being measured.
The image below printed with tremendous depth in the bits of mountain poking through the cloud. This may or may not make some images look better — deciding this is very much a matter of taste. The overall tone and hue range of this photo is more subdued than evident in the previous example. Non branded papers therefore can potentially be as good if not better than the branded ones, especially if the vendor sources them from a similar geographic location. Figure 1 shows the result for test i: I have a Esponwhich does not accept roll paper. First of all, the flakes… Inside the pack of paper were lots of small white flakes of surface coating.
There are at least two ways of verifying the reliability or explanatory value of the measurements: This measures the consistency of the instrument over multiple passes of precisely the same spot. The lower the number the less the measurements of the samples in the set deviate from the measured average for the set.
In our context, the lower the STDEVPA the more uniform are the different readings of the same patches and the more likely that different results are due to real differences between the samples being measured rather than instrument inconsistency. Figure 1 shows the result for test i: The dispersion would be indiscernible to the unaided human eye. For test iithe resulting averages and STDEVPA for each what the nine patches are shown in Figure 2. Nine Patches On the whole, the STDEVPA results in Figure 2 are greater than those of Figure 1. This indicates that there is some variance of ink laydown within each of the patches, which according to the Photoshop Eyedropper and Info palette are rigorously uniform.
However, looking at the patches, these variances are small enough to be completely invisible to the naked eye.
This gives confidence that the readings from the instrument are reliable enough for practical purposes. Before accepting and using a data set, one checks for such egregious outliers and re-measures to verify whether the result was indeed erroneous.