Photographers and artists are people who can't be fooled when it comes to colour. They can tell instantly whether a print is too bright or too dark, or whether the colour is precise. Perhaps understandably, clients in the fine art sector demand more and, as printer manufacturers have found, you can't pull the wool over their eyes. With that in mind, Epson has bravely launched the Stylus Pro 9900 into this challenging arena, claiming it possesses the very best in ink technology.
This mid-market device follows hot on the heels of the 64in-wide Stylus Pro 11880, which was launched last year. The Japanese manufacturer believes it can grow this market with not only the 44in 9900, but its smaller brother, the also newly launched 24in Stylus Pro 7900. Both were unveiled at Drupa in May and are shipping from this month.It’s about giving the market the ability to print high-quality prints, says Martin Johns, Epson UK business manager for professional graphics. We have enhanced the offering and positioned the products at the premium end of the market.It’s taken many years of development, particularly on the inks front, to produce the new machines. Indeed, since 1996, when Epson launched its original dye inks to go with its products for the proofing market, the company has been continuously improving the colour quality.These products aren’t a refresh, but a ground-up development, Johns says. And it’s not just about the hardware.
History of improvement
In order to understand what Johns means by a ground-up development, you need to delve into Epson’s past and see how it has consistently strived to improve its ink technology over the past few years. In 2001, Epson introduced ColorFast, its six-colour pigment. It was as-good-as-dye ink, but we could not get the vibrant images, says Johns.It wasn’t until 2003 that Epson felt it had really nailed the ink quality. UltraChrome established Epson and gave it the opportunity to target new markets with its wider colour gamut. The inks didn’t just improve the quality of an image, but also the longevity. By 2005, Epson had launched UltraChrome K3, which incorporated a vivid magenta.Now Epson has launched its fifth-generation ink for the 9900 and the 7900: the UltraChrome High Dynamic Range (HDR). The ink set expands on K3 with vivid magenta by adding orange and green inks. This, according to Epson, significantly increases the range of colours that can be achieved, particularly bright green to yellow and yellow to red. The orange ink is designed to reduce the graininess in skin tone. An additional feature on the colour front is the device’s ability to switch between matte and photo black inks automatically.The machines incorporate 11 individual ink cartridges and are available in 350ml and 700ml; this helps with capacity, adds Johns.
Added offering
Another improvement on the ink front is the introduction of Epson’s Look Up Table (LUT) technology. This is designed to both maximise the colour gamut without sacrificing print quality and to smoothe the gradation. LUT is able to translate RGB into 10-colour CMYK and is designed to allow colour consistency under different light conditions.Unlike its rivals in the market, both the 9900 and 7900 are 11-colour devices, rather than the more traditional 12. Johns explains that this is not a problem as the inks have been long in development and he boldly states that Epson’s competitors have more of an uneven colour gamut. Just because you have more colours, it doesn’t mean you have better colour quality, he adds, claiming that the ink set is as wide as a 12-colour device.In order to keep those 11 colours in check, Epson has developed an optional SpectroProofer, which it claims follows colour workflows precisely. It also offers a daily colour check, creates profiles and ensures that spot colours are matched. For users opting for the SpectroProofer, the device operates in-line on the machine. But, should it need to be removed, the printer can continue to operate normally.There are two reasons for the SpectroProofer, says Johns. One is that it calibrates the printer and defines the tolerances. The other is that it creates accurate ICC profiles, particularly important when you’re handling third-party media.The SpectroProofer is powered by an X-Rite spectrophotometer and controlled by Epson’s own software or a third-party RIP. Epson has done it’s homework on the RIP front and has liaised with the major vendors to ensure that both the 9900 and 7900 can be used in different workflows. Johns adds that, in proofing markets, compatibility is key.With all these developments on the colour front, Epson has incorporated its very latest inkhead technology to drive the 9900 and 7900. Like the 11880, it’s reliant on the 10-channel MicroPiezo Thin Film piezo printhead technology. Launched last year, the technology is designed to produce a more precise dot, while printing at much faster speeds. This is achieved by limiting the vibration on the surface in the nozzle.You do not have to change the head, adds Johns. It’s a permanent feature. The head has much more control on the ink droplet size.
Speed boost
The improvement in head technology has boosted the speed of the devices. Both the 9900 and 7900 have a maximum speed of 46sqm an hour. When printing in the highest resolution, 2,880dpi, the speed comes down to 25sqm an hour. But, according to Johns, these machines aren’t about how fast they can run. The fine art and photography market places the emphasis firmly on the quality; engine speed is secondary.Other hardware improvements include an automatic rotary knife system, which can cut fine art paper up to 300gsm. According to Johns, this helps the devices to branch out into new markets. One in particular is point-of-sale, although these devices would be for the premium end of that market. Users can also use the device to muscle into the packaging proofing market; the colour accuracy is an advantage in an age when getting a brand to look consistent is critical.Also incorporated with the machines is a spindlesless roll holder mechanism, designed to make it easier to clip in the substrates. Epson has also developed an automatic paper set and release mechanism.Both the 9900 and the 7900 are essentially targeting any organisation that has a need for high-quality prints; this isn’t a machine for the outdoor display market. The quality, on first viewing, is impressive to anyone with an untrained eye. The question is, can it satisfy the notoriously demanding experts from the art and photography sectors?
SPECIFICATIONS
Media width: 44in/24in
Max speed:46sqm per hour
Max resolution: 2,880dpi
Imaging method: piezo inkjet
Inks:Epson Ultrachrome HDR
Number of colours: 11
Price: 9900: £5,595 (with SpectroProofer £6,595) 7900: £3,195 (with SpectroProofer £3,995)Contact: 0800 220 546,
http://www.epson.com/
THE ALTERNATIVES
HP Designjet Z3200 Photo Printer
Creative professionals and print service providers are the two key markets targeted by HP with this new addition to the Z-series. It includes an embedded spectrophotometer, along with a new Chromatic Red ink which, according to HP, enables up to 95% Pantone coverage. There’s also the HP Gloss Enhancer, which minimises bronzing on most glossy photo papers. Like Epson’s offering, there are two models: a 24in version and a 44in machine.
SPECIFICATIONS
Media width: 44in/24in
Max resolution: 2,400dpix1,200dpi
Max speed: Best print mode: 12.4min per A1 pp Draft mode: 2min per A1pp
Imaging method: Thermal inkjet
Inks: HP Vivera
Number of colours: 12
Price: £7,684 (44in Z3200ps), £5,520 (44in Z3200), £4,190 (24in Z3200ps), £3,280 (24in Z3200)
Contact: 01344 360 000,
www.hp.com/uk
Canon imagePrograf iPF8100
Designed specifically for fine art and photography applications, the Canon imagePrograf iPF8100 uses a 12-colour LUCIA pigment ink system that produces accurate colours and is capable of borderless printing up to 42in. The manufacturer says that the dual printhead features 30,720 nozzles resulting in an evenly distributed 4picolitre ink droplets. Like the Epson machine, the iPF8100 incorporates a colour calibration tool. It’s also capable of producing A1 prints in just over two minutes.
SPECIFICATIONS
Media width: 44in/42in
Max resolution: 2,400dpix1,200dpi
Max speed: 30sqm per hour
Imaging method: Thermal inkjet
Inks: Lucia pigment ink
Number of colours: 12
Price: £4,995
Contact: 01737 229 022,
www.canon.co.uk/largeformat
This mid-market device follows hot on the heels of the 64in-wide Stylus Pro 11880, which was launched last year. The Japanese manufacturer believes it can grow this market with not only the 44in 9900, but its smaller brother, the also newly launched 24in Stylus Pro 7900. Both were unveiled at Drupa in May and are shipping from this month.It’s about giving the market the ability to print high-quality prints, says Martin Johns, Epson UK business manager for professional graphics. We have enhanced the offering and positioned the products at the premium end of the market.It’s taken many years of development, particularly on the inks front, to produce the new machines. Indeed, since 1996, when Epson launched its original dye inks to go with its products for the proofing market, the company has been continuously improving the colour quality.These products aren’t a refresh, but a ground-up development, Johns says. And it’s not just about the hardware.
History of improvement
In order to understand what Johns means by a ground-up development, you need to delve into Epson’s past and see how it has consistently strived to improve its ink technology over the past few years. In 2001, Epson introduced ColorFast, its six-colour pigment. It was as-good-as-dye ink, but we could not get the vibrant images, says Johns.It wasn’t until 2003 that Epson felt it had really nailed the ink quality. UltraChrome established Epson and gave it the opportunity to target new markets with its wider colour gamut. The inks didn’t just improve the quality of an image, but also the longevity. By 2005, Epson had launched UltraChrome K3, which incorporated a vivid magenta.Now Epson has launched its fifth-generation ink for the 9900 and the 7900: the UltraChrome High Dynamic Range (HDR). The ink set expands on K3 with vivid magenta by adding orange and green inks. This, according to Epson, significantly increases the range of colours that can be achieved, particularly bright green to yellow and yellow to red. The orange ink is designed to reduce the graininess in skin tone. An additional feature on the colour front is the device’s ability to switch between matte and photo black inks automatically.The machines incorporate 11 individual ink cartridges and are available in 350ml and 700ml; this helps with capacity, adds Johns.
Added offering
Another improvement on the ink front is the introduction of Epson’s Look Up Table (LUT) technology. This is designed to both maximise the colour gamut without sacrificing print quality and to smoothe the gradation. LUT is able to translate RGB into 10-colour CMYK and is designed to allow colour consistency under different light conditions.Unlike its rivals in the market, both the 9900 and 7900 are 11-colour devices, rather than the more traditional 12. Johns explains that this is not a problem as the inks have been long in development and he boldly states that Epson’s competitors have more of an uneven colour gamut. Just because you have more colours, it doesn’t mean you have better colour quality, he adds, claiming that the ink set is as wide as a 12-colour device.In order to keep those 11 colours in check, Epson has developed an optional SpectroProofer, which it claims follows colour workflows precisely. It also offers a daily colour check, creates profiles and ensures that spot colours are matched. For users opting for the SpectroProofer, the device operates in-line on the machine. But, should it need to be removed, the printer can continue to operate normally.There are two reasons for the SpectroProofer, says Johns. One is that it calibrates the printer and defines the tolerances. The other is that it creates accurate ICC profiles, particularly important when you’re handling third-party media.The SpectroProofer is powered by an X-Rite spectrophotometer and controlled by Epson’s own software or a third-party RIP. Epson has done it’s homework on the RIP front and has liaised with the major vendors to ensure that both the 9900 and 7900 can be used in different workflows. Johns adds that, in proofing markets, compatibility is key.With all these developments on the colour front, Epson has incorporated its very latest inkhead technology to drive the 9900 and 7900. Like the 11880, it’s reliant on the 10-channel MicroPiezo Thin Film piezo printhead technology. Launched last year, the technology is designed to produce a more precise dot, while printing at much faster speeds. This is achieved by limiting the vibration on the surface in the nozzle.You do not have to change the head, adds Johns. It’s a permanent feature. The head has much more control on the ink droplet size.
Speed boost
The improvement in head technology has boosted the speed of the devices. Both the 9900 and 7900 have a maximum speed of 46sqm an hour. When printing in the highest resolution, 2,880dpi, the speed comes down to 25sqm an hour. But, according to Johns, these machines aren’t about how fast they can run. The fine art and photography market places the emphasis firmly on the quality; engine speed is secondary.Other hardware improvements include an automatic rotary knife system, which can cut fine art paper up to 300gsm. According to Johns, this helps the devices to branch out into new markets. One in particular is point-of-sale, although these devices would be for the premium end of that market. Users can also use the device to muscle into the packaging proofing market; the colour accuracy is an advantage in an age when getting a brand to look consistent is critical.Also incorporated with the machines is a spindlesless roll holder mechanism, designed to make it easier to clip in the substrates. Epson has also developed an automatic paper set and release mechanism.Both the 9900 and the 7900 are essentially targeting any organisation that has a need for high-quality prints; this isn’t a machine for the outdoor display market. The quality, on first viewing, is impressive to anyone with an untrained eye. The question is, can it satisfy the notoriously demanding experts from the art and photography sectors?
SPECIFICATIONS
Media width: 44in/24in
Max speed:46sqm per hour
Max resolution: 2,880dpi
Imaging method: piezo inkjet
Inks:Epson Ultrachrome HDR
Number of colours: 11
Price: 9900: £5,595 (with SpectroProofer £6,595) 7900: £3,195 (with SpectroProofer £3,995)Contact: 0800 220 546,
http://www.epson.com/
THE ALTERNATIVES
HP Designjet Z3200 Photo Printer
Creative professionals and print service providers are the two key markets targeted by HP with this new addition to the Z-series. It includes an embedded spectrophotometer, along with a new Chromatic Red ink which, according to HP, enables up to 95% Pantone coverage. There’s also the HP Gloss Enhancer, which minimises bronzing on most glossy photo papers. Like Epson’s offering, there are two models: a 24in version and a 44in machine.
SPECIFICATIONS
Media width: 44in/24in
Max resolution: 2,400dpix1,200dpi
Max speed: Best print mode: 12.4min per A1 pp Draft mode: 2min per A1pp
Imaging method: Thermal inkjet
Inks: HP Vivera
Number of colours: 12
Price: £7,684 (44in Z3200ps), £5,520 (44in Z3200), £4,190 (24in Z3200ps), £3,280 (24in Z3200)
Contact: 01344 360 000,
www.hp.com/uk
Canon imagePrograf iPF8100
Designed specifically for fine art and photography applications, the Canon imagePrograf iPF8100 uses a 12-colour LUCIA pigment ink system that produces accurate colours and is capable of borderless printing up to 42in. The manufacturer says that the dual printhead features 30,720 nozzles resulting in an evenly distributed 4picolitre ink droplets. Like the Epson machine, the iPF8100 incorporates a colour calibration tool. It’s also capable of producing A1 prints in just over two minutes.
SPECIFICATIONS
Media width: 44in/42in
Max resolution: 2,400dpix1,200dpi
Max speed: 30sqm per hour
Imaging method: Thermal inkjet
Inks: Lucia pigment ink
Number of colours: 12
Price: £4,995
Contact: 01737 229 022,
www.canon.co.uk/largeformat
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