Wednesday, November 16, 2016

Canson Baryta Prestige 340gsm: Paper Test and Review


 Canson’s new Baryta Prestige is a 340 gsm inkjet paper comprised of acid-free alpha-cellulose and cotton white paper with a true Barium sulphate (“baryta”) coating. The baryta nomenclature tags it as having the look and feel of silver halide prints that will appeal to those who know what that entails: for those who don’t it is a durable paper that brings a feeling of richness and depth not only to tonal values and hues but to the surface and weight of the paper itself. Inks seem to blend in with the surface rather than sit on top, a very pleasing look.

It is a “smooth gloss” paper, which means that it has the look and sharpness of traditional glossy paper while lacking the distracting sheen of a “hard” surface gloss. For those who have worked in a darkroom that’s like double-weight glossy dried matte. It has a weight and durability that while defending the sheet from handling problems does not prevent the user from using virtually every photo inkjet printer (not all-in-ones) out today.

I tested Baryta Prestige using a Canon PRO-1000 and Epson SureColor P800, thermal and piezoelectric inkjet printers respectively. I worked with three images: one with bold color, one a mixture of monochrome and color areas, and one “straight” black and white.

Test Results
Both printers handle up to 300gsm weight papers through the normal single-sheet feed paths, but being heavier weight I loaded the paper using the Epson front-feed and Canon back/manual feed trays. While I would advise flexing the paper to help it maintain flatness with the Epson, the Canon manual tray path passed the paper through with no problem. (There was no problem with the Epson either; it just seemed to be less than flat when feeding it so I flexed it prior to aligning it with the guides and it passed through with no skewing whatsoever.) 

I processed the images in Adobe Photoshop CC 2015.5 on a MacBook Pro that is calibrated to my Cinema Display. I downloaded the Canson ICC profiles (www.canson-infinity.com/en/icc-profiles) and worked with Photoshop Managed Color/Perceptual Intent on two color images and black and white modes (printer controlled color in the Epson and the Canon black and white print checkoff in the driver). I made no adjustments to the processed image between printers.  The paper profile and surface called for PK (Photo Black) ink. If you have matte black set up in the Epson you have to wait a bit while it switches to Photo Black; the Canon uses two separate feeds for PK and PM inks so no swapping time is required.

Overall both printers delivered very good results. Colors were rich and true and highlight texture is nuanced. The paper surface has a very slight stipple (unlike a hard gloss) and there is no noticeable gloss differential. The weight of the paper is such that mounting and matting will present no problems; overall it has a substantial and durable feel.

Canson ICC profile, Photoshop CC 2015.5, Madrid Wall Composite copyright George Schaub

In the color image, the Canon delivered a cleaner (somewhat brighter) yellow and a slightly more differentiated red.  Both printers yielded a rich D-Max (deep black) with nice tonal gradation from dark to light gray. Bright whites were clean with very subtle highlight values down from bright to soft white. Blues and cyans seem richer on the Epson print. These comparatives are based on side-by-side prints: taken alone each is very good and would be more than pleasing to the eye.

Canson ICC profile, Photoshop CC 2015.5, Composite 2 copyright George Schaub

I chose a composite graphic with both grayscale and subtle color touches to check how the Canon and Epson would handle the black and white values without using the monochrome checkoff option in their drivers. The dark tonal areas of the monochrome values in the image were reproduced with a rich and even startling depth; highlights maintained their starkness without loss of textural nuance. If anything, the SureColor P800 yielded richer reds and subtler blues, a result that was apparent in the full color image print as well.


I chose a monochrome image that displays a very wide gamut of values, from creamy and textural whites through a range of grays to deep black. I used the “black and white” checkoff in the Canon driver and Epson’s Advanced Black and White mode. Both prints showed a depth and tonal separation that was very pleasing, with the Epson printing out a tad darker overall. I would not hesitate to use this paper for any of my monochrome images.

Conclusions and Recommendations
Now that we have printers that can yield excellent results, printmakers owe it to themselves to work with inkjet papers that can bring out the most vivid and vital tonal values and hues of the image itself. Working with the ICC profiles and, with monochrome images and settings in the respective printer drivers, Canson’s Baryta Prestige showed itself to be an excellent partner to these two quality inkjet printers. New to the market as of fall, 2016, it can take its place among the thoroughbred class of fine art papers that has the weight, surface, optical density, wide color gamut and archival characteristics that will allow you to make prints that you will be proud to display.

Contact, size and pricing: www.canson-infinity.com/en


  


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