Looking for some printing advice? You can now use our RU-vid channel to view videos on printing with Moab Paper.
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Very Important: You must start the actual flow of spray while aimed off the side of the print, then draw the spray all the way across the surface of the print and off the other side before stopping it. The person in this video is doing that, but at the speed he's going, it's not going to be obvious to everyone that he's not, for example, just trying to conserve spray between passes. Again, what he's showing is correct, but AFAIK he never actually says this explicitly. Personally I have used this spray varnish successfully many times, and I actually just keep the spray going continuously for each pass from top to bottom (meaning I don't start and stop the spray as I change direction left to right). To each their own. The important thing is to never have the spray pointed at the print itself when you start or stop the flow of spray. Also just for clarity, the reason behind not swiveling your wrist is to try and maintain, as much as possible, a constant distance and angle between the sprayhead, and the artwork, while spraying. As another commenter mentioned, I tend to actually use my legs to try and move my whole body left to right, not just my arm, as shown in the video. Maybe that's more of an issue/concern when spraying larger-format prints.
Hi, thanks for the video...just starting out with printing my own photographs. There was going to be a link in the comments for a resource '27:31 Is there a resource explaining different Moab papers and recommended uses?' - I have watched the RU-vid video, but there was meant to be a downloadable resource but I can't see it anywhere :)
Thanks for this well presented video. Regarding Matte Black vs Photo Black papers, since photo black papers reflect more light, shouldn't their black look lighter? My experience is darker black with matte papers because they have less light reflection. On the other hand, matte papers have less punch.
Photo black papers will appear to have a richer/darker black, as the light reflected has less scatter than a matte black paper. This is also why the MK papers can appear to have a little less 'punch'.
when you rolled over that pyramid thing, I went back and froze the image and it said "preserves multi resolution information readable by Indesign and some other programs"
Spraying should be a physical dance, even with a small target / object. Holding your wrist to ensure a consistent angle vis-a-vis the item to be sprayed is fine, but one's entire body should move up and down, left and right, during the spraying. Watch how master car painters move. You should be employing legs and torso to keep the same physical attitude / orientation to the spraying target. Again, it's like a dance among the sprayer, the target, and one's body. Thx for the video.
Thanks. My first question is how important is it to use spray, given the fact (well, claim) that supposedly archival-quality, pigment-based inks on archival quality paper should last for 200-400 years? My second question is how important is an additional layer of (cehimcal) protection if the print is framed with glass or plexi? My third question is, how much long-term testing has been done to determine the effectiveness of spray varnish over the years and are there any negatives associated with its use (other than of course the toxicity)?
1- The desert varnish and preservation coatings generally are used to protect against UV, scratches and scuffs, and to some extent humidity changes. Longevity numbers for inks assume dark storage or archival conditions for maximum permanence. 2- If the print is framed with archival materials and UV-filtering conservation or museum glass, there is no need to add a coating to the print. If you're using non-UV filtering glass, or displaying without glazing, then coating the print is an important step. 3- We do not have longevity testing comparisons available for prints with and without the Desert Varnish.
Thanks Les. Im considering using larger flat sheets of Entrada for an upcoming show. I noticed you were using a Canon printer, similar to my 4100. Is there any way to completely eliminate the printer from incorporating blue and red ink in the B&W print mode? Im trying to force the printer to use just black and gray ink to print my B&W work.
With the Canon software/driver there is no way to limit printing to only the monochrome inks. In the B&W Photo mode the printer uses color inks to extend the tonal range.
Before and after would have been helpful. Also, explain what you mean when you say the spray can "affect" a glossy or semi-glossy print. Does it give the print a matte finish? Does it dull the finish? Other?
We don't recommend using the Desert Varnish on a glossy, semigloss, or satin paper. It is not designed for those coatings, and will not disappear into the surface as it does on matte papers.
(at about 22.26 question on screen) When softproofing in Lightroom, once you start to make any adjustments LR asks if you want to make a virtual copy for this anyway.
Hi, I look at many photos B & W taken in CUBA, Most say is amazing deep, shadows and art felling.... THX and Good Luck..., The color photos look assume too... ;)
I'm old-fashioned, but I still prefer Photoshop, as I have a choice. Especially in the rendering intents, where I feel it is vital to try them all to see which works with which image. I also like an actual copy, not a virtual copy that can be lost by the matrix.
This is the most understandable and useful explanation of soft proofing I've found, after viewing many. I especially appreciate Jim's assurances that letting a color or colors remain a bit out of gamut is "not horrible." Not at all! In my final prints, some colors that are a bit out of gamut has not mattered. Thank you!
I know you said to wait 4 mins between HALF coats, but how long should I wait between full coats? And how long after that until it's fully dry and I can package it up?
We recommend letting the varnish dry overnight if possible, but a few hours at standard temperature and humidity (65-75 degrees F, 35-60% humidity) should be sufficient.
Really like your explanation and demo Evan! But it is a pity that because of the video quality anything demonstrated in the darker tones can't be seen!
It is difficult to demonstrate subtle changes on screen via a webinar- I recommend selecting an image of your own to follow along with the steps and see the changes on your own monitor.
I have been using Entrada Natural and Entrada Bright paper for years and am very excited at the introduction of this new cold press paper. I have just started using it for images that I want to bring out with textures, and I could not be more pleased. Try it! Thanks Les!
I was thinking of using desert varnish, but where I live can be quite humid in the summer. Are there issues with this and is there a recommended humidity level? Thanks!
The higher the ambient humidity the longer it will take each coat of varnish to dry. If you spray it outside, and then bring it indoors to dry (assuming your home has a lower humidity) then the average times should apply. We don't have time guidelines for application in humid conditions.
@@MoabPaper Thank you! I actually had them and didn't realize it. They're were with the PDF instructions. FYI the link to the templates in the "Show More" above is "dead" on your site (not the link you replied with). it says: "We couldn't find the page you were looking for. This is either because: There is an error in the URL entered into your web browser. Please check the URL and try again. The page you are looking for has been moved or deleted." I'll be using your stock to promote my fine art work. Did a test and the tonal scale and color fidelity is very nice. I printed on an Epson 2200 and used the enhanced matte profile.
I have common digital prints that I want a uniform matte finish on. Some coating are not adhering well to the shiner ink. What would be a good product to apply?
With glossy/satin papers a matte laminate will be your best option. A frame shop can apply it for you, we don't have specific recommendations for an at-home product.
Love the video, very helpful. Do you need to set the media type in the printer when you set it in the print function of the software. I am assuming that when using LR or Canon Pro Print Layout that you only need to set the media type and paper profile, this will override any setting on the printer. Thank you
Software should override any settings made on the printer. With wide format (24" and larger) printers it is best to set the media setting both on the printer & in software.
Thank you Moab. Sorry I missed the live presentation. For anybody wondering about the Monitor Color Gamut Warning in the Soft Proofing View/Mode, I usually turn mine off. Especially if there are to many warnings. If there is a good reason to leave it on, please comment. I leave the Destination (Canon Pro100 printer in my case) Gamut Warning on which seems to make more sense to me because that is where the file/image will end up. I also say forget the Apple/Mac monitor. Although they do alright, you are better off getting a monitor made for photographers like a BenQ. (that can be calibrated internally with a 100% sRGB & 100% Adobe RGB=on my purchase wish list). I might actually go 2k over a 4k monitor. Your print won't be a 4k look most likely. Just my opinion. Question. He mentioned books or online for more printing info closer to the beginning of the vid. Can he recommend any really good books on printing to keep on the shelf for learning & reference. Thank you for any replies.
Moab paper is the greatest paper I've used ever, ive stopped using my darkroom because of it; however, fix your branding, this is such a premium product, but the branding and packaging looks something you buy at walmart
