Dye versus Pigment Ink Printers. Dye versus Pigment Ink Printers Not too long ago, only a few exotic desktop inkjet printers used pigment ink.
But now that new pigment based models from Canon and HP have joined the lineup of pigment printers resulting from Epson's pioneering efforts, the choice of dye versus pigment ink has become increasingly unavoidable for those shopping for a new printer. If this might include you, which type of ink should you go with? Traditional dye-based printers use water-soluble colored liquids to render an image on paper. Tiny droplets are laid down that get absorbed by the paper. But pigments haven't been a panacea for the creation of inkjet ink. It was also challenging for early pigment inks to produce the wide gamut of colors possible when using dyes. But the hardest problem for the developers of pigment ink to solve was a phenomenon known as "metameric failure," and explaining it will require a bit of typing.
When we look at an object, we see it as being some particular color. Photo Finish Options. We offer the following print finishes: * Glossy * Matte * Lustre * Metallic Glossy finish is the shiny, rich-looking paper most people are traditionally used to.
It tends to show fine detail better, but also shows fingerprints better. Matte finish is a highly textured print finish that resists fingerprints and scratches. It is much more dull, and does not reflect light, Many photographers use matte finishes for wallet prints because they usually get handled more than normal. Some also use it for poster-sized prints to reduce glare. My personal preference for all sports photos is the Lustre finish and would recommend it exclusively unless you are knowledgeable about the characteristics of the specific finishes. Custom images that I produce in my home photo lab are printed on Ultra Premium Photo Paper - Lustre by Epson or Galerie Smooth Pearl by Ilford, utilizing Epson UltraChrome K3 Ink.
Information from Epson regarding the UltraChrome K3 ink: Help - What is lustre finish? Lustre prints offer the best of both worlds: the color saturation of glossy the fingerprint resistance of matte without the glare associated with glossy. Below, both the lustre (bride) and glossy (Darth Maul) prints look good in the absence of glare.
But when the angle changes, glare is far more evident on the glossy print (right): Lustre has a satin-like sheen and a modestly textured surface which you can see when the light angle is just right. Lustre is printed on Kodak Supra Endura paper, which is heavier than matte. Kodak Professional ENDURA Paper DO NOT COPY PROFESSIONAL IMAGES ARE COPYRIGHT PROTECTED Lustre prints from Loxley Colour are printed on Fuji Crystal Archive paper and have the following on the back: FUJICOLOR Professional Paper Copyright Applies Permission to reproduce required. 4xD Prints. Designs - Tutorials - SB-28 in a Softbox. Here's the goal: a softbox, a source of soft, even, directional light, much like a north-facing window.
Softboxes are standard equipment for studio work from portraits to still life. They're portable, and they're completely independent of the camera position and direction. However, if you're using a digital camera and (for any of several good reasons) you want to use the flash designed to work with your camera, how do you include a softbox in your photography tool kit?
Here's how. The softbox in the picture contains a Nikon SB-28, connects to any Nikon TTL-compatible camera (such as the Coolpix 990, which I use), and functions in full TTL mode--with multiple flashes, if you choose. Digital Learning Center.