Baryta and 'Baryta-Type' Fine Art papers

Black and white inkjet printing has changed significantly over the past decade in terms of the papers and inks available and the quality of the end result. Modern Baryta or ‘Baryta type’ Fine Art papers can yield prints with deeper blacks and excellent tonal gradation that are often more akin to traditional silver gelatin darkroom prints. As I recently started making my own prints again after quite a few years, I‘ve had a bit of catching up to do, in particular over which Fine Art papers I would choose to use for my black and white prints. While there are numerous reviews of individual papers available, comparisons between specific papers are harder to find. However, I’ve had a really useful correspondence with San Diego based photographer Joe Smith, who recently published a comparison of black and white printing on several Hahnemühle Fine Art papers, which prompted me to write up this comparison. Like Joe, my aim here is to find a Fine Art paper that will help me maintain a consistent look and feel to my images. What follows is subjective and purely my own impressions of each of the papers and how they relate to that aim, but by writing them down I hope they might be of use to others.

True Baryta papers have a barium sulfate layer applied to a photo paper before the ink receiving layer, as in traditional darkroom papers. They have some level of sheen and are generally known for having a high DMAX enabling them to show more detail in dark shadows and bright highlights making them ideal for wide tonal range black and white prints. Two of the papers used are true Baryta papers: The Hanemühle Fine Art Baryta and the Fotospeed Platinum Baryta the others might be described as ‘Baryta type’ papers, whatever that means!

The printing for this comparison was done on a Canon Pixma Pro 10-s printer using Canon Lucia pigment inks. The test image I used is one produced by Keith Cooper of Northlight Images based in Leicester, whose site has detailed reviews of several of the papers used here. Colour management was handled by Adobe Lightroom using custom icc profiles provided by UK company Fotospeed for the Fotospeed Platinum Baryta and Fotospeed Gloss Art Fibre and generic profiles for the other two papers. My preference is not to use the black and white mode of Canon printers.

In all, this comparison involved four papers, one from Hanhemühle (Fine Art Baryta) and three from Fotospeed (Platinum Baryta, PlatinumGloss Art Fibre and Platinum Legacy Gloss). The images below were photographed under a 5500K daylight lamp.

Left to Right: Hahnemühle Fine Art Baryta, Fotospeed Platinum Baryta, Fotospeed Platinum Gloss Art Fibre, Fotospeed Platinum Legacy Gloss – detail section of Northlight Images B&W Test Print
Left to Right: Hahnemühle Fine Art Baryta, Fotospeed Platinum Baryta, Fotospeed Platinum Gloss Art Fibre, Fotospeed Platinum Legacy Gloss – lit by window light to show difference in paper tone.
Left to Right: Hahnemühle Fine Art Baryta, Fotospeed Platinum Baryta, Fotospeed Platinum Gloss Art Fibre, Fotospeed Platinum Legacy Gloss – angled to show reflective surface and texture.

Fotospeed Platinum Baryta 300

£50-£65 for 25 A3 sheets

A smooth Baryta coated paper with no OBAs that has the feel of a traditional darkroom photographic print. The smoothest of the papers, it has a level of sheen greater than the Fotospeed Platinum Gloss Art Fibre, similar to the Hahnemühle Fine Art Baryta. When viewed in daylight next to the Hahnemühle Fine Art Baryta and Fotospeed Platinum Gloss Art Fibre it also has a slightly warmer tone, though still cooler than the Fotospeed Legacy Gloss. At 300 gsm, a decent amount of heft but not too heavy as to require any additional margin when printing. Image sharpness and detail was the best of all the papers and it gives excellent shadow detail and deep blacks reflecting its reported high DMAX.

Hahnemühle Fine Art Baryta 325

£94-£100 for 25 A3 sheets

A 100% alpha-cellulose Baryta coated paper paper that contains OBAs with a distinct texture and a lovely fine art paper feel when holding the print. The texture is more pronounced that the Fotospeed Platinum Gloss Art Fibre and the level of sheen is similar to the Fotospeed Platinum Baryta. When viewed in daylight next to Fotospeed Platinum Baryta 300, the latter has a slightly warmer tone, indeed the tone of this paper is similar to the Fotospeed Gloss Art Fibre. At 325 gsm, it has a decent heft and I felt the use of a wide margin to reduce the risk of head strike might be necessary. Shadow detail was very similar to the Fotospeed Platinum Baryta and marginally better than the Fotospeed Platinum Gloss Art Fibre, all three had similar levels of highlight detail.

Fotospeed Platinum Gloss Art Fibre 300

£54-£67 for 25 A3 sheets

A 100% alpha-cellulose paper that contains OBAs with a subtle texture and a lovely fine art feel when holding the print. The texture is less pronounced than on Hahnemühle Fine Art Baryta as is the overall level of sheen, indeed this paper has the lowest sheen of all the papers and might better be described as a semi-matte paper. When viewed in daylight next to Fotospeed Platinum Baryta 300, the latter has a slightly warmer tone. At 300 gsm, a decent amount of heft but not too heavy as to require any additional margin when printing. Slightly more detail in the very light tones than Fotospeed Platinum Baryta 300, but not quite as much detail in very dark tones.

Fotospeed Platinum Legacy Gloss 325

£56-£70 for 25 A3 sheets

A 100% cotton paper containing no OBAs with a subtle texture and has a lovely fine art feel when holding the print. The texture is less pronounced than on either Fotospeed Gloss Art Fibre or Hahnemühle Fine Art Baryta while the level of sheen is similar to the Fotospeed Platinum Baryta. When viewed in daylight this paper has the warmest tone of all four papers. At 325 gsm, it has a decent heft but did not require any additional margin when printing. Highlight detail was as good the other papers, however, while it gave deep blacks there was some loss of detail in the shadows which seemed a bit crunched up compared to the other papers. Indeed, this was the only paper where I struggled to discern shadow detail in the last 10mm of the detail test strip in the test image perhaps suggesting it would be well suited to softer images.

Conclusions and personal preferences

Choosing a paper for black and white printing is, in the end, a matter of personal preference and whether the paper suits the style of prints you want to make. Fine Art papers are expensive, often 2-3 times the price of a regular photo paper. For that money, I feel they have to deliver not just in terms of image quality but equally in the overall look and feel of the finished print. For a smooth ‘darkroom’ like print, it is hard to beat the Fotospeed Platinum Baryta. Fotospeed Platinum Legacy gloss may work well for softer images, however, I find its tone a little too warm and personally, I’d be more likely to use a matte paper for such images.

Fotospeed Platinum Gloss Art Fibre or Hahnemühle Fine Art Baryta seem to suit the style of images I produce and both papers have a beautiful fine art feel when holding a print I the hand, something I think distinguished them from the otherwise excellent Fotospeed Platinum Baryta. As I like to present my prints in folio boxes as well as mounting them, feel is an important consideration. Having printed a number of images on each, my personal preference is for the Fotospeed Platinum Gloss Art Fibre, its more subtle texture and lower sheen winning out over the Hahnemühle Fine Art Baryta. I’ve found it produces prints that have smooth tonal gradations and hold detail in both shadows and highlights.

If you’ve made it this far, thanks for reading!

One location, 3 compositions

Despite being only a short drive from where I live, I’ve never actually photographed the iconic Normanton church that is seemingly set adrift on Rutland Water in the UK. This week, I finally managed to visit this location on two occasions, albeit in very brief spells in the atrocious weather from the tail end of storm Dennis. Having the opportunity to visit more than once in quick succession lent itself to exploring a number of compositions using a fortuitous piece of driftwood on the shore.

The first visit was cut short by a heavy rain shower, but looking at the images I took it seemed obvious that there were other, possibly more interesting compositions to be had. In particular, I realised that a wide angle lens would enable me to create a sweep around the small bay toward the church. Unfortunately on that visit, I’d not managed to find the ideal position prior to the weather turning foul. With a building in the shot, perspective comes into play quite significantly when using an ultra-wide lens, it’s all too easy to set the camera too high and pointing downward so you end up with the depth-of-field you want but also with a wonky building! Second visit, two days later, and luckily the intervening wind and rain had not dislodged the driftwood from the beach. In the end, the final composition I’m most happy with is perhaps only a metre or so from my original position but equally shot with the camera perfectly level to reduce any distortion issues with the building.

First image, I could see the potential but the composition not right.
Portrait works for depth-of-field, but the perspective needed correcting in post-processing.
Final image and the one I’m pleased with.

Warp and Weft

William Blake may have regarded them as dark and satanic, yet today several of the monumental textile factories that powered the UK’s industrial revolution are world heritage sites. For a black and white photographer the contrast, pattern and symmetry associated with the machines in these mills is a bit of a gold mine. This series of images was taken in several of the preserved mills of the midlands and north of England.

Moorside Mills, Bradford. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₄₀ sec at ƒ / 4.0, ISO 2000

There was a time when undertaking an extensive indoor photographic project without the use of a tripod was well nigh impossible and as many heritage sites do not permit the use of tripods indoors, well, you get the gist. However, for this project I mainly used the new Fujinon 16-80mm f/4 R OIS WR, which has quite exceptional image stabilisation and makes hand-held photography in low light much more feasible when combined with the high ISO performance of modern cameras.

Masson Mill

Masson Mill, part of the Derwent Valley Mills World Heritage Site, was built in 1783 by Richard Arkwright on the banks of the River Derwent at Matlock Bath, and reflects the grandeur of its river gorge setting. However, it was not the buildings that drew me to this project but rather the details of the mill interiors and, in particular, the engineering and technology associated with the spinning of yarns and weaving of fabrics.

Masson Mills, Derbyshire. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₅₀ sec at ƒ / 4.0, ISO 2500
Masson Mills, Derbyshire. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₃₀ sec at ƒ / 4.0, ISO 2000
Masson Mills, Derbyshire. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₁₅ sec at ƒ / 4.0, ISO 2000

Armley Mills

Once the largest woollen mills in the world, Armley Mills were built in 1805 and ceased operation in 1969. Today, the buildings house Leeds Industrial Museum, but several floors still preserve the mill machinery. While not intentional, I’ve found that each of the portfolios put together in this series has tended to focus on slightly different aspects of the industrial heritage preserved. In part that’s down to how easy it is to photograph in each of the locations but it also reflects the original focus of the mill and whether it was for wool or cotton.

Armley Mills, Leeds. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₄₈₀ sec at ƒ / 4.0, ISO 2000
Armley Mills, Leeds. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₉ sec at ƒ / 8.0, ISO 2000
Armley Mills, Leeds. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₄₀ sec at ƒ / 4.0, ISO 2000

Moorside Mills

In the 19th Century, Bradford in Northern England was famous for its worsted cloth. While not itself a world heritage site, Moorside Mills, now Bradford Industrial museum, has some exceptionally well preserved machinery that make for a fascinating photographic study. The various combing, drawing, spinning and weaving machines are in superb, and in many cases, working condition while others are being restored. I find there is a beauty in the detail of the Victorian engineering, their repetitive symmetry and the contrast between the pale tones of the wools and threads and the black metal. For many of these images I’ve deliberately used selective focus to isolate the detail and suggest the depth and scale.

Moorside Mills, Bradford. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₂₀ sec at ƒ / 4.0, ISO 2000
Moorside Mills, Bradford. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₅₅ sec at ƒ / 4.0, ISO 2000
Moorside Mills, Bradford. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₃₀ sec at ƒ / 4.0, ISO 2000

Quarry Bank Mill

The last mill, so far, in this series is Quarry Bank Mill, now in the care of the National Trust. It was built by Samuel Greg, and at the time was the largest textile mill in the UK. While he is credited with taking care of his employees, there is, of course, another much darker legacy to cotton: the slave trade that Greg’s family were also involved in.

Quarry Bank Mills, Derbyshire. X-T3 + XF16-80mmF4 R OIS WR, ¹⁄₈₀ sec at ƒ / 4.0, ISO 2000
Quarry Bank Mills, Derbyshire. X-Pro3 + XF50mmF2 R WR, ¹⁄₅₀ sec at ƒ / 2.0, ISO 1250

Light and Space

Some of the earliest and most famous photographs of Ely Cathedral are those of Frederick H. Evans. He was profoundly dedicated to pure photography, not altering the printing of negatives for aesthetic effects; rather using his ability to capture an image at the most telling moment of light and shadow. In keeping, these are ACROS film simulation jpegs shot with my FujiFilm X-PRO2 with no further processing.

The spaces inside cathedrals are vast and an intrinsic part of both their architectural design and function. Capturing them in a two dimensional medium is immensly challenging, space is hard to see, and I find that the third dimension is hinted at most strongly by light.