Don’t even think about hiding it in a corner the 3880 demands that its presence be known on a large table.
#BEST PAPER FOR EPSON 3880 PRINTER PRO#
Like most photo printers in this category, such as those in the Canon Pixma Pro series, the Stylus Pro 3880 is large and heavy. It produces the highest quality images, even if you don’t know a thing about color management for those who, it is capable of producing color and monochrome prints up to 17 x 22 inches in size with extra oomph that’s suitable for hanging in a gallery or exhibition. Priced at $1,099, it’s not a printer for the casual user. The Stylus Pro 3880 is the top-of-the-line model in Epson’s prosumer series. These printers are designed for professional-quality output, but capable of serving advanced-level users who aren’t necessarily printing as a business. That middle ground consists of what’s known as prosumer models that range in cost between about $500 and $1,000.
#BEST PAPER FOR EPSON 3880 PRINTER PROFESSIONAL#
There’s a significant gap between consumer printers and those used by professional photographers and graphic designers. Let’s take a closer look at some of the best photo paper options available on the market today. Fine art media is generally heavier than mass-produced photo paper and comes in a huge range of smooth or uniquely textured finishes that give them a much higher-quality look and feel.Īs with printer manufacturers’ own-brand papers, Canson and Hahnemühle offer ICC profiles for a huge range of inkjet printers, to ensure the utmost accuracy and fidelity. Some Canson and Hahnemühle’s fine art media is made on traditional mould paper machines, which are now very rare, in a process that goes back centuries and has been favored by the greatest painters down the ages. Whereas standard photo papers tend to have a plasticky feel and can be somewhat lacking in character, fine art papers are often based on cotton ‘rag’ and other premium fibers, and are created to the highest standards with specialist manufacturing processes. So-called ‘fine art’ media is available from printer manufacturers like Canon and Epson but also from specialist paper makers like Canson and Hahnemühle, who take papermaking to a more elevated level. The downside is that stability is less good over time, so they’re typically not used in archival and ‘fine art’ media.īecause the results are pretty much guaranteed when using own-brand inks and papers, many photographers don’t venture any further. Indeed, ultra-white papers sometimes include optical brighteners, similar to those used in laundry detergents, which react with UV light to give a super-bright appearance. It’s an important issue because different papers have varying whiteness and react with ink in different ways. ICC (International Color Consortium) profiles ensure that the right mix of inks is used to maximize color fidelity for any given own-brand paper with a particular ink set. The chemistry of the inks and papers are naturally formulated to work together. Using own-brand inks and photo papers from the likes of Canon and Epson, you can be assured of photo prints that should last a lifetime without fading. Gloss differential can also be a problem, where areas of the print with a denser covering of ink look less glossy than areas with a relatively light covering. That’s because the pigments generally won’t be fully absorbed beneath the outer layer, which can give rise to ‘bronzing’, where the print looks blank and lifeless when viewed from certain angles. They’re also suitable for printing on glossy, semi-gloss and lustre photo papers but less ideal than dye-based inks. The larger molecules of the pigments are more robust and better suited to matte paper. Unlike dye-based inks, the pigments in these inks is suspended in the liquid rather than being dissolved. It’s more ideal for printers like the Canon imagePROGRAF PRO-300 and Epson SureColor P700 and SureColor P900, which use pigment-based inks. With matte photo papers, the ink is laid on the top-layer inkjet coating, rather than being absorbed beneath it.
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