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06-26-2019, 02:33 AM   #16
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Thanks. I had a print made on dye sub printer once and it looked awful compared to my Epson 6 ink, inkjet. I've always used Epson printers for my photos but don't own one right now because I don't print myself anymore, I send them out to be printed.

06-26-2019, 05:51 AM   #17
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QuoteOriginally posted by Alex645 Quote
P-30 Cibachrome/Ilfochrome, RIP, has always been my gold standard. From a Kodachrome slide or even Velvia, those colors prints were breath-taking.
Yep - hard to reproduce its saturation. Of course it did have a lot of contrast that was occasionally problematic.
06-26-2019, 06:49 AM   #18
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Professional printers used for photographic prints generally fall into one of two catagories, dye types where dye is water based and pigment type where fine solids are held in suspension in a solution (not water). It used to be the case that dye printers capable of producing higher saturated prints than pigment. I suspect that this is not the case with recent pigment printers. Dye types gets absorbed into the paper surface whereas pigments tend sit on the surface

Colour gamut of many inkjet printers can exceed even Adobe RGB in certain areas, but is heavily dependent on print surface and substrate. The highest saturation, contrast and Dmax will be had on photo glossy materials and as already mentioned metallic and acrylic type printing may offer the maximum. Generally canvas type inkjet prints lose out in terms of contrast and potential resolving power to glossy surfaces

IF you have a wide gamut monitor AND you are soft proofing correctly on a calibrated monitor AND printing on a suitable substrate there is no reason that you should not get a print to screen match either spot on or very close. How close to the different media of oil or acryllic paints you can get I would not like to say but would suspect that for most purposes you should get quite close - assuming no special brighteners in the paint
06-26-2019, 06:51 AM   #19
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QuoteOriginally posted by photoptimist Quote
Inkjet printers brag how few picoliters each drop contains which makes me wonder how much pigment they apply per square inch. A typical tube of acrylic has 120 trillion picoliters in it and I suspect artists lay on the paint more heavily than does the printer.

Artists also have a lot more colors to choose from which fills out the gamut more completely that any inkjet can.



P.S. Cadmium yellow #37 is cadmium sulfide, the same molecule used in many old light meters including the venerable Spotmatic and K1000.
Where did you find this chart? Would be very helpful to me!

06-26-2019, 07:51 AM   #20
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QuoteOriginally posted by texandrews Quote
Where did you find this chart? Would be very helpful to me!
handprint : learning color through paints has that chart and a lot more on the issue of color. Enjoy!
06-26-2019, 09:15 AM   #21
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QuoteOriginally posted by photoptimist Quote
handprint : learning color through paints has that chart and a lot more on the issue of color. Enjoy!
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