Paper differences - how a B&W image looks different on lustre and fine art paper. 

Thanks, although as with painting I have do a point where I decide 'that will do'.

Thanks. I find RU-vid quite difficult to organise in this respect. I guess it's partly because I rarely ever use it myself for photography related material. The playlists help, but I'm not sure how much people look at them.

Thanks - The P7500 videos are more frequent partly because I've not got it here for long (goes back tomorrow) I've just finished the main review video (~35 mins) which I'll likely run in a week or so, when I've finished writing the main written review.

Thanks!

Thanks!

Thanks!

Thanks, I appreciate that!

Thanks

Glad it's of some interest!

Thanks. I'll try and do some more stuff covering this,

Thanks - glad it's of interest! If you've any specific questions, let me know? The more detailed stuff is generally in the written articles on the Northlight web site

Glad I could help!

Glad it was of interest!

Yes, it's often forgotten how much the choice affects the look of the print.

Thanks - glad it's of interest!

Thanks - glad it showed on the video...

Thanks!

Thanks

Thanks. The max black often makes much less difference than people assume - one reason I never quote 'dmax' values [if you see lots of mentions of Dmax and 'gamut volumes' in reviews then take such stuff with a big pinch of salt unless there are lots of explanatory notes ;-) ] The main time you see differences is if you put a matte print near a gloss/lustre one - something never to do if showing prints! It often tends to go on just what 'job' the black is doing in the image and how much tonal range you feel the image needs. Look at examples in my recent printer reviews - this is a topic I've addressed quite often www.northlight-images.co.uk/photography-articles-and-reviews/printing-paper-reviews-articles/

Thanks

Thanks - my own preference for this subject too. I rarely care too much about what people choose for prints, as long as I feel it's a deliberate choice ;-)

See here [an article, not a video] www.northlight-images.co.uk/test-image-for-black-and-white-printing/ includes links to the different versions and a couple of videos for different measurement options

There are some differences in the ink set which might show on some papers. The P700/900 ink set is slightly more prone to a form of bronzing at higher quality settings than the P7500. This was noticeable on _some_ papers on the P900 (it's mentioned in my full review and the associated B&W article). Looking at some of my B&W test images I'm minded to think this is due to the smaller minimum drop size of the 700/900. I'll have more about this in the main [written] review for the P7500 when it's done...

If you mean the source images for the prints, then both. Paying work almost guarantees a tripod, personal work, depends on if I absolutely need one and have remembered to bring one with me. It's not something I use for most landscape photography and having one with my when I'm just visiting somewhere like the cathedral, because I'm in the area, is purely by chance ;-) I've long regarded habitual use of tripods for landscape photography as a relic of the 19th century ;-) :-) YMMV as they say...

It's not a paper type I've tested I'm afraid, so I don't know how it performs with different printers - the P7500 has gone back to Epson.

I didn't test any HM papers on this printer - the papers I did test all looked just fine on the P7500 - no problem with blacks I tend to print in 16 bit, since I've been working on the images in 16 bit. if I need to apply a correction curve, it's much better done in 16 bit. However, once the final print file is done, there is little difference in what gets sent to the driver (8 or 16). I don't have a test print clearly showing any differences - they may exist, but I doubt many would see them

Thank you for your reply. I am not sure why I got a problem with the black on HM paper, but i will test again.

Media settings? - ink limits? - the paper may benefit from a custom media setting on the P7500

I print on Hahnamuhle photorag ultra smooth 305g , velvet fine art paper, head gap 1.9 ( i am not sure if it 1.9 or 1.6), paper thickness 0.5, quality max ( 5) , dry time per pass 3 second, vacuum 3 ( i find out it to much ) , tention standard, and ink it still around 85% most of them except light grey is around 60%. I was thinking i will try to reduce the dry time and see if anything change.

Unfortunately the printer has gone back to Epson, so I can't do any more testing like this. I'd suggest asking on the print forum at Luminous Landscape?

Yes - it's when they actually sell that I wince a bit ;-)

I saw this once on a test machine which had been damaged in transit - it went back to Epson. Sorry but I don't have any other suggestions other than to try printing from another device (even a phone)

@@KeithCooper appreciate the speedy reply! thanks. I'll update if I find something.

@@KeithCooper if I experiment with a custom media type for it based on the velvet FA, what would you guess be a good drying time (seconds) for this HM FA PhotoRag Ultra Smooth?

In general, if a paper needs a longer drying time, I suspect it is not optimal for the printer. This is something I almost never change.

@@KeithCooper oops. I just bought a whole package of this paper :D Have you experimented with this family of papers (Hahnemuhle FA PR, 305-308gsm) on the Epson P900/700? I haven't found such videos from you. Anyway, fyi for future questions: setting the drying time to 2s helped only when printing your calibration photo, with mix of B&W and color. but not for the purely B&W... annoying and weird!

Ah, it all comes down to what you're doing with the prints and why you're doing them ;-) Running a print business is a very different thing... I've a video coming up looking at more aspects of this (prompted partly by the big prints and the P7500 going back to Epson today) BTW, the bronzing can be very dependent on paper choices and media settings