articles/Paper/hahn-bar-satin-page2
by Mike McNamee Published 01/12/2014
The glancing-angle light shows up the surface texture of Baryta Silk, plenty of fibre structure with a low gloss.
Real prints
We printed an image that is currently in progress. The crows are very dark but with significant feather detailing. This was reproduced excellently. A further challenge was the copper-toned version from MacPhun (see review in this issue). This file had created an ugly result using a cheap, brightened, gloss paper, with the warmth of the background being particularly badly affected. Making a 'colour' print version using Baryta Satin created something far closer to the original, with a fourfold improvement in the error of the subtle cream base - an example perhaps of why we always need to make real prints to back up our statistics!
OVERALL
FineArt Baryta Satin joins an elite group of media with all the right buttons pushed for the fine art printer either as colour or monochrome art. Although some users might prefer a cotton rag substrate, the finished prints have a considerable 'presence' with the weight and stiffness. It is available in the usual sizes including 17-, 24-, 36-, 44- and 60-inch widths along with A4 through to A2 sheets.
Shot under controlled conditions in a D50 Booth, the cheap, brightened paper on the right produced an ugly background tone. The 4x more accurate tone from Baryta Satin was much more pleasing on the eye. The moral perhaps is to avoid brightened papers when subtle, light and warm basetones are required, the blueness of the OBAs destroys the effect.
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