New ChromaLife 100 Canon Printer Inkset

Mark Goldstein writes "Some exciting news today for everyone who loves the speed of Canon printers, but hates the fact that they don't have archival-quality inksets. PhotographyBLOG reader Phil Aynsley has sent me a translated version of a page from Canon Japan's website, which talks about a new ChromaLife 100 inkset using BCI-7 dye-inks, with promises of 30 years light-proofness under glass and 10 years antigas fading when used with Canon's "genuine photograph paper". Let's hope it leaves Japan and reaches the rest of the world soon. " The archival issue of printing is a big one for people thinking long term - this would definitely be cool.

Comments

Photographic Preservation

[Phat_Tony]

Or, if you don't want to buy your own archival printer, or would like books instead of just prints, or need scanning and/or restoration, take a look at these guys: The Family Reserve

Disclaimer- I am very much affiliated with them.

Is this new?

[AIX-Hood]

Epson has had this type of archival ink available for at least 6 months, as I bought one and the output is spectacular. I'm not sure why this is story is newsworthy.

For archival properties, use archival processes

[davidwr]

If you want archival prints, get them printed in a traditional photo-lab. Many 1-hour labs can turn your digital photos into photographic prints, made with the same paper and chemicals regular prints are made from.

These should last 30 years easy if taken care of and kept out of the sun.

If you want 200 year prints, you can probably get digitals put on IlfaChrome (formerly CibaChrome), which can last centuries if treated properly.

Re:For archival properties, use archival processes

[Phat_Tony]

Ack! Many traditional photo lab prints are FAR from archival. Many will fade horribly in as little as ten years under normal display conditions! Read up on Henry Wilhelm's research.

From the Bettman archives to the collections of the JFK presidential library, even the finest quality pictures have often suffered horrible degradation even under excellent storage conditions. Things have gotten a lot better in the past several years, and a lot of labs use either Fuji Crystal Archive or Kodak Duralife papers, which do last quite well if treated properly. But be sure you check it out, don't just assume! For example, my step mother just bough very expensive professional studio portraits of her granddaughter, and they came back on papers that are known to degrade terribly in as little as 10 years.

In general, for most of the history of photography, assume things won't last unless you know otherwise, because it's generally proven to be the case.

If you don't want to research a place near you that uses quality, long-lasting processes, I believe that, among other places, Walmart uses Fuji Crystal Archive paper for all their prints.

Great, they're only four years behind Epson.

[Phat_Tony]

Epson released the first Archival printer, the 2000p, in the summer of 2000. And it was rated for 200 years light-fastness. It was followed in 2002 by the very popular Epson 2200, which used a newer 7-color archival pigmented ink set, prints up to 13 x 19, uses roll paper, does borderless printing on many sizes, and prints at 2880 x 2880 dpi with a minimum 3 picoliter droplet. It produces more crisp pictures than any photographic process except the laser exposures of the Durst Lambda.

They folowed that up in 2002 and 2003 with four large format archival printers of comparable print quality, the 4000, 7600, 9600, 10600, printing up to 44" wide by 100' long. All of these are rated at 100 years light-fastness.

Now, in 2004, they've released their third generation of archival printers, starting with the R-800, which is the first pigmented printer to produce true glossy prints without "bronzing," has a wider color gamut that any other consumer level printer of any photographic process, prints borderless sheets as well as CD's and DVD's, and prints at up to 5760 x 1440 with 1.5 picoliter droplets. These prints are also rated at 100 years.

Don't get me wrong, it's nice that Canon's bringing on the competition, but is a new 30-year ink set four years after Epson's really big news in the industry? Epson dominates here, and with their huge range of printers that take ink sets good for 100 years or more, this isn't a very aggressive step for Canon.

Re:give me permanence or give me bit-death!

[Phat_Tony]

Or a properly stored Mitsui (MDM-A) Gold Archival CD will last for over 200 years.

They're much more resistant to light, scratching, and plain old entropy than other CD's. They're the only digital media certified by the Library of Congress, and most other libraries, as an "archival medium."

Here's some more info and a place to buy them.

Re:What's the point?

[Phat_Tony]

Hmm, let's see.

- A good inkjet print, like with Epson's Ultrachromes, will last as long or longer.
- Good inkjets now produce sharper prints than any photographic process except the laser exposures of the Durst Lambda. The newest generation or the next may surpass even it. Oh, and good luck finding a local lab with one of those anyway.
- With an ICC-based Color Management system, you can get more accurate color from your digital files on an inkjet than you can with any traditional photographic print.
- With newer printers like the Epson R-800, you can get wider color-gamut prints than any photographic process.
- You could do all of this at home, anytime you like, without going anywhere. If you want to touch-up the print and redo it, you don't have to drive home to your computer and back.
- I don't have time to look this up for other printers, but the marginal cost of a 4 x 6 print with Epson Premium Glossy Photo Paper and Ultrachrome inks on a desktop Epson printer is $0.31. Buy third party inks and papers, and I bet you can get it down to under $0.20.

Need more reasons? If you make many prints to amortize the cost of the printer, and are comfortable with the technology, is there any reason NOT to make your prints at home?



/unbiased information

Incidentally, this is where I throw in a shameless plug. If you want high quality, and maybe additional services that are hard to do yourself like making hardbound photo albums, and photo websites, and archiving, but you don't want to buy your own equipment and figure it all out yourself, try The Family Reserve.

Re:30 years is archival? Not.

[Phat_Tony]

Do you have any references for this idea that all inkjet printers use ionized ink? It's true that the IRIS (now IXIA) printers use continuous-flow inkjet printing, where the ink is ionized and the droplets are "steered" by running them past charging plates and deflection plates. But most inkjets use thermal printing, where the ink is rapidly heated in the print head to make a bubble, which pressurizes the ink and squirts it out the nozzle. It is only aimed based on careful positioning of the print head. Epson, and some high-end professional printers like Roland, use piezoelectric printing. The piezoelectric effect is where a mechanical stress occurs in a material due to an electrical charge. A small piezoelectric diagram forces the ink out through a narrow (10 micron) orifice. Again, dot-placement is controlled by careful print-head placement, not by electric plates guiding ionized ink.

In fact, while Epson and HP's ink formulations are not known, there are many third-party ink sellers who do list their formulations, and they tend to be rather clear about the fact that they de-ionize the carrier (water) before making the inks. And they don't add anything ionized. Yet, these non-ionized inks work with these printers. How is that? Fuji also mentions that only a few expensive large-format printers use ionized ink.

Even if the inks were ionized, it is entirely unclear that oxidation would break down the large color particles in pigment based inks like Ultrachrome inks. Your arguments fail to address this. Pigmented inks are what were used in classical oil paintings, many of which have been displayed without glass since the renaisance, probably without significant fading. During this time, they've been heavily oxidized. You do not present any case that adding an ionizing agent to the ink would accellerate the breakdown of the pigments to make the inks significantly unstable. Do you have any research, or math, or arguments as to what makes you think that the addition of any ionizing agent would break down any conceivable pigment too quickly to make it stable?

"I won't even get into the chemical formulation of dyes, and let me make it clear, there are no inkjet "inks," they are all dyes. Inks have a binder, and dyes do not. Dyes cannot be deposited on a surface in sufficient quantities to provide a stable layer of pigment, they merely stain the surface of the substrate."

Yes, that's why, at least with dye-based inkjet inks, the paper is critically important to the life of the prints. The paper is the binder. There are two main types of inkjet photopaper coatings. Microporous coated papers provide the least protection against oxidation. Still, good microporous papers, like the microcermaic coatings invented by Asahi Glass, allow large amounts of ink to be deposited with quick drying and without smudging, and the more ink, the more it can oxidize without changing. They use tiny ceramic (alumnia sol) particles in a silca gel, which rapidly sequesters the ink. Viewed under a microscope, this paper looks like jagged mountains. This is how they gather enough ink to "provide a stable layer of pigment." That's why these papers are usually used with more stable inks, they don't protect the ink much, but they take a whole lot of it into the paper.

Swellable Polymer papers use a nonporous coating of organic polymers that are water-receptive and SWELL TO SURROUND THE INK after it hits the paper. The majority of the ink is completely protected from direct air exposure. How do the inks oxidize, then?

Kodak has managed to combine these two approaches in their latest Ultima Picture Paper, which both takes a heavy coating of ink and en