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Digital Prints

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<strong>Digital</strong> Photo Print: For What and for Whom?<br />

Photographers like the output from digital photo print/photo process because it looks like<br />

a real photograph. In fact, it is a real photograph! Larry Berman, a photographer who is a<br />

regular on the art show circuit, has most of his prints done on a Noritsu digital printer at<br />

his local Costco. Berman pays only $2.99 for a 12 × 18 print that can also yield two 8 ×<br />

10s. The costs for the wide-format variety (Lambda, LightJet, Chromira) are comparable<br />

to wet-darkroom prints from a custom lab, but the digital versions will soon be replacing<br />

the traditional ones as their materials become extinct.<br />

The primary drawbacks with digital photo print are that paper choices are limited, and you<br />

can’t do this yourself because the devices are much too expensive for self-printers to own.<br />

Dye Sublimation<br />

Dye sublimation (also known as “dye diffusion thermal transfer” and typically called “dye sub”)<br />

is for high-quality photo and digital snapshot printing (and pre-press proofing). Dye-sub printing<br />

has a loyal following among some photographers who prefer it to inkjet printing.<br />

How Does It Work?<br />

With dye sub a single-color ribbon containing dye is heated by a special heating head that<br />

runs the width of the paper. This head has thousands of tiny elements that, when they<br />

heat up, vaporize (“sublimate”) the dye at that location. The gaseous dye spot is then<br />

absorbed into the surface of the paper. Since the paper receives separate cyan, magenta,<br />

yellow, and sometimes black passes of the dye ribbons to make up the final image, the<br />

resulting layering of color provides a smooth, seamless image. Photo dye-sub printers only<br />

have 300 or so dpi resolution, but they can deliver continuous tone images because of this<br />

layering and the way the dyes diffuse or “cloud” into the paper. Some dye subs add a protective<br />

layer (a clear UV laminate) as a fourth and final step after the single-color passes.<br />

Chapter 2 ■ Understanding <strong>Digital</strong> Printing 63<br />

Figure 2.18 Fuji Frontier 340 digital<br />

lab system.<br />

Courtesy of Fuji Photo Film USA, Inc.

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