A piece of paper is a rolled-out mix of wood pulp and cloth, right? And photo paper is wood pulp and cloth with varnish on top. Yet, printer and ink makers try and tell us ink and paper form a 'technology system' which governs the look and capability of our photos. verily they're just trying to interpret the prices they charge?
Actually, having been colse to paper plants and into ink investigate labs, a lot of what they say is true. Inks and papers are industrialized together, so that a singular ink, which may work reasonably on a wide range of different papers, will work best on the paper it was designed to be used with.
Dye Sub Printer
Better means:
brighter colours
less spread of ink dots
faster drying time
good light resistance
good ozone resistance
Just about all the things you and I value in a photo. Inks look as if they might have a fair whole of chemistry complicated in production them, but it's often harder to appreciate the role the paper plays. We're used to reading and using all kinds of paper day-to-day, so the idea of one which is a composite of lots of different materials and built up in layers to try and get the best of all worlds may need some explanation.
Plain paper
Plain paper used for office printing is commonly made from level wood pulp. If you look at a sheet of plain paper under a magnifying glass, even under a low magnification loupe, you can see the minuscule fibres of which it's made. Any liquid ink, such as most inkjet inks, is likely to soak in between and along these fibres.
It's foremost to comprehend that inkjet inks are composed of two parts: the colourant and the carrier. The colourant is the particles of dye or pigment which make up the text or photo you're printing, while the carrier is the liquid in which the colourant is suspended. These days the carrier is regularly water, but it can be a solvent for expert applications.
The key characteristics of dyes and pigments make them favorable for different uses. Dye molecules are regularly colse to 2nm in size, so small they can verily fall between the fibres of the paper and soak into it, along with the carrier. Pigments are colse to 50nm to 150nm and are more likely to sit on the face of the paper. Because of their size, pigments are also more defiant to ultraviolet light attack, the main mechanism by which inks fade over time. So why don't all ink makers use pigments?
Pigments don't regularly give such vibrant colours as dyes, and this has to be balanced against their robustness. Using pigments on plain paper, though, where most citizen will be printing black text, makes a lot of sense. That's why many inkjet printer makers now consist of two black inks: a pigmented ink for printing black text on plain paper and a dye-based one for mixing with the coloured inks when printing photos. You can't verily mix dye and pigment inks in the same print.
Coated paper
The main hypothesize for applying coatings to papers is to enhance the way the ink settles on them and to help it resist fading. It also reduces drying time, when printing images which take a lot of ink. Even so, the simplest of coatings still produces paper poorly grand for photographic images.
Many 'inkjet' papers have a simple coating which makes them good than photocopier stock for printing day-to-day text and graphics, because there's less chance of the ink soaking into the paper fibres and giving a fuzzy or 'feathered' look. These papers often have improved brightness, too, which gives higher dissimilarity with black ink.
Photo papers
To get the best out of an inkjet photo print, you need to increase the whole of layers and introduce expert coatings to cope singular aspects of the printing process. A contemporary photo paper may well have seven or more different layers to provide, among other things: a gloss finish, safety from Uv and ozone, absorption of the carrier, improved drying time and resistance to sticking, one sheet on another.
Within the general category of photo papers, there are two inevitable types: swellable and porous. Swellable coatings do verily swell. The face coating gets thicker as the carrier and the ink soaks into it.
The idea is that the ink is sucked into the paper, which gives it extra safety from light and gas attack. As you might guess, if you took in the dissimilarity between dyes and pigments, swellable paper is best grand to dye-based inks, but even with dyes, you shouldn't expect prints to be dry adequate to cope safely until about an hour after printing. They can take over a day to dry completely.
Porous paper, on the other hand, works good with pigmented ink, as it's designed to let the ink carrier soak into the paper and leave its payload of pigment on the surface. Because most of the liquid carrier soaks away fast into the porous sub-layers, images printed on porous paper are regularly touch dry within a second or so and wholly dry in a few hours.
Some photo papers also have deliberately rough back-coatings. This is so that when you're printing several photographs in a batch, each new print to leave the printer doesn't stick to the one below in the production tray, which may not have concluded drying.
As with most technologies, things are not cut and dried and by varying the constituents of the different layers in a photo paper you can make a sheet which is supremely good at working with dye-based inks or one which is ideal for pigments.
In between, it's possible to make a paper which is good than inexpensive for both and this is why you'll find papers which claim to be favorable for all the major brands of inkjet printer, even when some traditionally use dyes, while others rely on pigments. It doesn't invalidate what the ink and paper makers tell you, but plainly proves that compromise still has benefits.
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