the Fine Art of Photography
and Digital Archival Printing

Healey Studio - Hahnemühle Certified Studio

Over the last few decades we have accumulated some information and many opinions that may or may not be of interest to others. On this page we will provide inforamtion related to Healey Studio - Hahnemuhle Certified Studio

Please note we will add more information as time allows. Eventually we intend to have a full reveiw of each paper we stock and links to further resources that may be value and interest to our clients.

Reviews and Resources

Resources

 

Museum Quality Stretcher Bars • John Annesley

We spend much time and care in printing our Museum Quality Archival Prints, it seems a shame to lower the quality and longevity of a stretched canvas by using second rate materials. So of course only the best will do for Healey Studio. Although Hahnemuhle does supply stretcher frames with archival adhesive, for the larger prints we prefer "old school": kiln dried PH neutral bass wood strecher bars crafted by John Annesley and his dedicated crew. We have it varnished at the factory to ensure that the wood will not warp with changes in climate. We stretch our canvases strictly to John Annesley's directions.

 

Photographic Media Review: Hahnemuhle Photo Silk Baryta

Hahnemuhle Photo Silk Baryta

Coming Soon! Reveiw of Hahnemuhle Photo Silk Baryta by guest reviewer Tony Bonanno!

As some of you know Ema has no darkroom experience at all although John is quite proficinet in darkroom technique. Since Ema cannot do a comparison with the original Baryta wet process photographic paper, and never using the original photographic baryta paper she has never therefore had a desire to use Canson/Ilford Gold Silk, which was the digital version of this paper. Therefore she cannot compare either to Hahnemuhle's new Gold Silk Baryta. Therefore we have asked master printer and photographer Tony Bonanno to assist us in evaluating this new media.

The Hahnemuhle Silk Baryta although marketed as part of the "photo" line is an exception to the rule that "photo" paper is for short term exhibition only. Although it is so new that third party testing has not been done on it, it is projected to be almost if not equally as archival as the fine art papers.

Photographic Media Review: Hahnemuhle Metallic Canvas

Hahnemuhle Metallic Fine Art Inkjet Canvas

New to the market as of January of this year, Hahnemuehle Metallic Canvas. What can we say? It is a groundbreaking new media. The depth and the vibrancy of the color is simply breathtaking. So superior to “plain” inkjet printable canvas it is incomparable. The surface has a white pearl appearance with a fairly subtle canvas texture. It prints the warm colors in a way that just must be seen to understand. This canvas material appears to gather the ambient light in the room and shine it back at you. We believe this is the combination of the canvas texture and the metallic reflective coating that creates micro cells that act as small lenses.

This canvas is metallic so not every print will benefit from printing on a metallic media. For instance a Las Vegas show girl in full regalia and glitter makeup would be appropriate for a metallic media while a natural skin toned soft portrait would not. However we find that many landscapes do benefit as do architectural images and obviously brightly colored abstract work.

The metallic canvas again is not for those who are wallet sensitive, however if one considers the cost of matting and framing, this canvas can be gallery stretched without protective coating. So with the savings in labor and additional materials, it may be the less costly option. For larger stretchers we recommend John Annesley’s museum quality stretcher bars. It is expensive to print in very large format, and one should take care that the print is not reduced in value due to poor workmanship of the stretcher.

For those planning on printing on Metallic Canvas in on their own printers: be warned it is time consuming and the learning curve is a difficult climb. The special nature of the coating and the way it reacts with the archival ink is different from printing on any other media we have experienced. When properly executed the results are worth the extra effort, but extra effort will be required. We believe that because this material is highly reflective, that the transparency of the color of each ink effects the appearance of the color much more than with traditional inkjet media, or even other metallic media. So therefore the amount of ink that is applied to the canvas will change the appearance of color and how it reacts with the coating itself. So budget in many test prints to find the perfect settings to achieve the print you desire.

In Summary: Just absolutely stunning. An unadulterated pain to print with but very much worth it.

Photographic Media Review: Hahnemuhle Fine Art Pearl

Hahnemuhle Fine Art Pearl

We have been told that this fine art cellulose paper has the widest color gamut of all of the Hahnemuhle media. This appears to be true. There are other media that print colors that this media cannot but overall this media is the best for range. The cellulose paper back is brighter than the cotton paper media (Photorag Pearl) giving it a bit more brightness which seems to increase the D-max. Pearl coating uses photo black ink not matte, so it would be classified as a glossy paper, yet in fact the Pearl coating is smooth yet not too glossy with a very subtle iridescent pearly shine. In the real world these qualities translate to the most fine and subtle detail being visible in a print.

In general I would say this is my favorite media for most types of prints. It is certainly not an economy paper, so I reserve this paper for images worthy of a perfect print. The smooth not overly glossy texture keeps skin smooth and allows viewing of the finest detail, while pearl shine prevents the dampening the contrast as matte papers have a tendency to do. If I had to choose one word to describe the effect this paper produces I would say Elegant.

For those planning on printing on Fine Art Pearl in on their own printers: Fine Art Pearl has the same drawbacks as all the heavy cellulose papers. In our dry environment here in the Southwest, even with the humidifier running continuously, the cellulose paper practically hardens on the roll, requiring flattening after printing and the sheet form has a tendency to curl up on the corners requiring straightening before printing

In Summary: Best all around paper you have an image that requires no special effects or enhancement.