My photos are printed with the utmost care using pigment ink printers. I use the Epson SureColor SC-P900 with OEM UltraChrome Pro10 inks. This ink is known for their excellent permanence in combination with suitable papers. According to Wilhelm Imaging Research Inc., prints made with Pro10 inks on archival-grade papers can maintain their quality without visible degradation for more than 100 years (color) or 200 years (black and white).

In a second printer, the Stylus Photo R2880, I use pure Carbon inks according the glossy Carbon variable tone (GCVT) recipe of Paul Roark. Pure Carbon prints are even more stable than those obtained with the Advanced Black and White mode (ABW) of the P900. The warm tone of a pure carbon print can be neutralized if a small amount of a toner ink is added, see Carbon Printing.

I am primarily using the following fineart papers.

  • Hahnemühle Photo Rag 308: 308 g/m2, 100% cotton, matte, fine felt structure, relatively low amount of optical brightening agent (OBA)
  • Hahnemühle Museum Etching: 350 g/m2 (heavy), 100% cotton, matte, textured surface, no OBAs
  • Canson Arches 88: 310 g/m2, 100% cotton, matte, ultra-smooth, no OBAs
  • Canson Rag Photographique: 310 g/m2, 100% cotton, smooth matte, no OBAs
  • Moab Entrada Rag Natural 300: 300 g/m2, 100% cotton, matte, no OBAs

I also print on the following papers, which resemble the natural gloss of silver gelatine baryta papers

  • Hahnemühle Fine Art Baryta: 325 g/m2, α-cellulose, high gloss, bright white, moderate OBA content
  • Hahnemühle Photo Rag Pearl: 320 g/m2, 100% cotton, pearl gloss, no OBAs