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Category: Desktop Inkjet Printers
November 28, 2006 (page 1 of 6)
Ink System: Epson Claria Hi-Definition photo dye-based six-ink system: cyan, light cyan, magenta, light magenta, yellow, and black in individual ink cartridges (the piezo inkjet heads are a permanent part of the printer). Maximum resolution: up to 5760 x 1440 dpi (dots per inch); prints with up to five drop sizes and a minimum drop size of 1.5 picoliters. The Claria dye-based inks have been optimized for Epson porous instant-dry glossy photo papers. Paper Size: 4x6-inches to 8.5x11 inches, 8.5x14 inches and A4, B5, A5, and A6. Border-free photos in 4x6, 5x7, 8x10, and 8.5x11 inch sizes. User definable 3.5 to 44 inches in length for panorama prints. Connectivity and Operating Systems: Hi-Speed USB 2.0. Windows 98SE/2000/ Me/XP and XP Professional x64; Mac OS X 10.2.8 10.3.9 or later (both Mac Power PC and Intel Core processors are supported). Software provided includes Epson Windows and Mac Printer Drivers, Epson PrintCD, Epson Web to Page, ArcSoft PhotoImpression 5. Special Features: Photo all-in-one printer, scanner, and copier. Built-in 2.5-inch LCD viewer. Memory card slots for printing directly from digital cameras and mobile phones without the use of a PC if desired; DPOF. Supports Epson PRINT Image Matching and Exif. Direct CD and DVD printing capability lets the user to produce personalized colorful photo and text labels on inkjet printable CDs and DVDs. Automatic photo correction (Windows only) and red-eye reduction. Price: Epson Stylus Photo RX580: $199.99 (USA) Epson Model No. C11C663011 (RX560 in Europe; RX590 in Latin America, Middle East, Pacific, and Asia). Printer was announced in September 2006 and started shipping in October 2006.
The Epson Stylus Photo RX580 (known as the RX560 in Europe and the RX590 in Latin America, Asia, etc.) prints photographs from 4x6-inch to 8.5x11 and A4 sizes, both with and without borders. The all-in-one unit prints, copies, and scans with or without a PC.
The new Epson Claria dye-based inks used with the Stylus Photo RX580 are supplied in six individual ink cartridges; high-capacity cartridges are also available (Epson No. 77 and 78 in the U.S.). Among current dye based ink/microrpous products, Claria inks have comparatively high WIR Display Permanence Ratings.
Display Permanence Ratings and Album/Dark Storage Permanence Ratings
Paper Printed With Dye-Based Epson Claria Hi-Definition Inks
Displayed Displayed Displayed Prints Prints Framed Prints Framed Not Framed Under Glass(3) With UV Filter(4) (Bare-Bulb)(5)
(Years Before Noticeable Fading and/or Changes in Color Balance Occur)2
Album/Dark Storage Unprotected Resistance Are UV Rating at 73F & 50% RH Resistance to High Resistance Brighteners (incl. Paper Yellowing)(6) to Ozone(7) Humidity(8) to Water(9) Present?(10)
Epson Ultra Premium Photo Paper Glossy Epson Premium Photo Paper Glossy
(Epson Premium Glossy Photo Paper)
98 years 98 years 97 years
82 years 82 years 133 years
now in test(5) now in test(5)
>200 years >200 years 185 years

now in test now in test

high high
Epson Premium Presentation Paper Matte
(Epson Matte Paper Heavyweight)

now in test(5)

now in test

moderate(11)

2006 by Wilhelm Imaging Research, Inc. As long as this document remains complete and unaltered, it may be freely distributed to your associates, customers, and friends. This PDF may also be reproduced in magazine articles, books, and other hardcopy print publications; however, it may not be posted on websites without written permission. Links to <www.wilhelm-research.com> are welcomed. Address e-mail inquiries to: <info@wilhelm-research.com> Wilhelm Imaging Research, Inc., Box 775, Grinnell, Iowa 50112 U.S.A.

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This document originated at <www.wilhelm-research.com> File name: <WIR_Ep_Photo_RX580_2006_11_28.pdf>
Epson Stylus Photo RX580 Print Permanence Ratings (preliminary1)

2006 Henry Wilhelm

November 28, 2006 (page 2 of 6)

Notes on These Tests:

1) The print permanence data presented here are based on tests done with a prototype Epson Stylus Photo RX580 (called the Epson Stylus Photo RX560 in Europe and RX590 in Asia and Latin America) using Epson Claria dye-based inks. Tests are continuing and this webpage will be updated regularly (high stability inks such as these require extended test times). Extensive confirmation tests with commercially packaged Epson inks, papers, and an Epson Stylus Photo RX580 printer purchased by WIR are also being conducted by Wilhelm Imaging Research to make certain that the products consumers actually purchase have essentially the same permanence characteristics as those of the prototype products tested earlier in the product cycle, and upon which the data reported here are based. 2) Display Permanence Ratings (DPR) are based on accelerated light stability tests conducted at 35 klux with glass-filtered cool white fluorescent illumination with the sample plane air temperature maintained at 24C and 60% relative humidity. Data were extrapolated to a display condition of 450 lux for 12 hours per day using the Wilhelm Imaging Research, Inc. Visually-Weighted Endpoint Criteria Set v3.0. and represent the years of display for easily noticeable fading, changes in color balance, and/or staining to occur. See: Henry Wilhelm, How Long Will They Last? An Overview of the Light-Fading Stability of Inkjet Prints and Traditional Color Photographs, IS&Ts 12th International Symposium on Photofinishing Technologies, sponsored by the Society for Imaging Science and Technology, Orlando, Florida, February 2002: <www.wilhelm-research.com> <Wilhelm _IS&T_Paper_Feb_2002.pdf>. For a study of endpoint criteria correlation with human observers, see: Yoshihiko Shibahara, Makoto Machida, Hideyasu Ishibashi, and Hiroshi Ishizuka, Endpoint Criteria for Print Life Estimation, Final Program and Proceedings: IS&Ts NIP20 International Conference on Digital Printing Technologies, pp. 673679, sponsored by the Society for Imaging Science and Technology, Salt Lake City, Utah, November 2004. See also: Henry Wilhelm, A Review of Accelerated Test Methods for Predicting the Image Life of Digitally-Printed Photographs Part II, Final Program and Proceedings: IS&Ts NIP20 International Conference on Digital Printing Technologies, pp. 664669, sponsored by the Society for Imaging Science and Technology, Salt Lake City, Utah, November 2004. Also available, with color illustrations: <www.wilhelm-research.com> <WIR_IST_2004_11_HW.pdf>. High-intensity light fading reciprocity failures in these tests are assumed to be zero. Illumination conditions in homes, offices, museums, and galleries do vary, however, and color images will last longer when displayed under lower light levels; likewise, the life of prints will be shortened when displayed under illumination that is more intense than 450 lux. Ink and paper combinations that have not reached a fading

Table 1. Standard Home Display Illumination Levels Used by Printer, Ink, and Photo Paper Manufacturers
120 lux/12 hrs/day 450 lux or 500 lux/10 hrs/day or 12 hrs/day
Fuji Hewlett-Packard Epson Canon Lexmark Ilford Konica Minolta Agfa-Gevaert DuPont Ferrania InteliCoat Somerset Arches LexJet Lyson Luminos Hahnemuhle Premier Imaging Products American Inkjet MediaStreet
or color balance failure point after the equivalent of 100 years of display are given a rating of more than 100 years until such time as meaningful dark stability data are available (see discussion in No. 5 below). Eastman Kodak is the only company in the world that bases its home displaylife calculations on 120 lux/12 hours per day, rather than 450 lux/12 hours per day. Some of Kodaks display-life predictions for Kodak Ultima Picture Paper are almost 15X longer than the predictions obtained in the more conservative tests conducted by WIR for this ink/media combination, and can be accounted for by differences in the two test methodologies. For example, Kodak uses 80 klux UVfiltered cool white fluorescent illumination; WIR uses 35 klux glass-filtered cool white fluorescent illumination. Kodak uses a starting density for fading measurements of only 1.0; WIR uses starting densities of both 0.6 and 1.0. Kodak uses the ISO Illustrative endpoint criteria set; WIR uses the visually-weighted WIR. continues next page
November 28, 2006 (page 3 of 6)
Notes on These Tests (continued from previous page):
Table 2. Filtration Conditions Used by Printer, Ink, and Paper Manufacturers with CW Fluorescent Illumination

UV Filter Glass Filter

Fuji Hewlett-Packard Epson Canon Lexmark Ilford Agfa-Gevaert Konica Minolta DuPont Ferrania InteliCoat Somerset Arches LexJet Lyson Luminos Hahnemuhle Premier Imaging Products American Inkjet MediaStreet
tions. For a description of the Kodak tests, see: D. E. Bugner, C. E. Romano, G. A. Campbell, M. M. Oakland, R. J. Kapusniak, L. L. Aquino, and K. E. Maskasky, The Technology Behind the New KODAK Ultima Picture Paper Beautiful Inkjet Prints that Last for Over 100 Years, Final Program and Advanced Printing of Paper Summaries IS&Ts 13th International Symposium on Photofinishing Technology, pp. 3843, Las Vegas, Nevada, February 8, 2004. See also: D. E. Bugner, C. E. Romano, G. A. Campbell, M. M. Oakland, R. J. Kapusniak, L. L. Aquino, and K. E. Maskasky, The Technology Behind the New Kodak Ultima Picture Paper Beautiful Inkjet Prints that Last for Over 100 Years Update May 8, 2004, Eastman Kodak Company, Rochester, New York. Available as a PDF file from <www.kodak.com>. Together with Kodaks own test data, the articles also include light stability data for Kodak Ultima Picture Paper obtained from ongoing tests conducted by the Image Permanence Institute at the Rochester Institute of Technology (Rochester, New York), and from Torrey Pines Research (Torrey Pines, California). The tests were conducted using the Kodak test procedures and included the use of a UV filter with cool white fluorescent illumination; the Image Permanence Institute and Torrey Pines Research also based print-life calculations on 120 lux for 12 hours per day. 3) In typical indoor situations, the Displayed Prints Framed Under Glass test condition is considered the single most important of the three display conditions listed. All prints intended for long-term display should be framed under glass or plastic to protect them from staining, image discoloration, and other deterioration caused by prolonged exposure to cigarette smoke, cooking fumes, insect residues, and other airborne contaminants; this precaution applies to traditional silver-halide black-and-white and color photographs, as well as inkjet, dye-sub, and other types of digital prints. 4) Displayed prints framed with ultraviolet filtering glass or ultraviolet filtering plastic sheet generally last longer than those framed under ordinary glass. How much longer depends upon the specific print material and the spectral composition of the illuminate, with some ink/paper combinations benefitting a great deal more than others. Some products may even show reduced life when framed under a UV filter because one of the image dyes or pigments is disproportionately protected from fading caused by UV radiation and this can result in more rapid changes in color balance than occur with the glass-filtered and/or the bare-bulb illumination conditions. For example, if a UV filter protects the cyan and magenta inks much more than it protects the yellow ink in a particular ink/media combination, the color balance of the image may shift toward blue more rapidly. continues next page

Endpoint Criteria Set v3.0. Kodaks display environment light exposure assumption for calculating display life is 120 lux for 12 hours per day (UV filtered); WIR uses 450 lux for 12 hours per day (glass filtered). Kodak maintains 50% RH in their accelerated tests; WIR uses 60% RH. Key aspects of Kodaks test methodology and assumptions for calculation of years of display are also very different from those used by most other manufacturers of printers, inks, and media. The display lux level assumption of 120 lux (see Table 1) alone makes Kodaks display-life predictions 3.75X greater than the display-life predictions provided by other manufacturers and by WIR. With many ink/media combinations, Kodaks use of a UV filter instead of the glass filter used by other companies in accelerated light fading tests (see Table 2) further increases Kodaks display-life predic-
November 28, 2006 (page 4 of 6)
than it does when a glass filter is used (in which case the fading rates of the cyan, magenta, and yellow dyes or pigments are more balanced in the neutral scale). Keep in mind, however, that the major cause of fading with most digital and traditional color prints in indoor display conditions is visible light and although a UV filter may slow fading, it will not stop it. For the display permanence data reported here, Acrylite OP-3 acrylic sheet, a museum quality UV filter supplied by Cyro Industries, was used. 5) Illumination from bare-bulb fluorescent lamps (with no glass or plastic sheet between the lamps and prints) contains significant UV emissions at 313nm and 365nm which, with most print materials, increases the rate of fading compared with fluorescent illumination filtered by ordinary glass (which absorbs UV radiation with wavelengths below about 330nm). Some print materials are affected greatly by UV radiation in the 313365nm region, and others very little. Gas fading is another potential problem when prints are displayed unframed, such as when they are attached to kitchen refrigerator doors with magnets, pinned to office walls, or displayed inside of fluorescent illuminated glass display cases in schools, stores, and offices. Field experience has shown that, as a class of media, microporous instant dry papers used with dye-based inkjet inks can be very vulnerable to gas fading when displayed unframed and/or stored exposed to the open atmosphere where even very low levels of ozone and certain other air pollutants are present. Resistance to ozone exposure varies considerably, depending on the specific type and brand of dye-based inks and photo paper. In some locations, displayed unframed prints made with certain types of microporous papers and dye-based inks have suffered from extremely rapid image deterioration. This type of premature ink fading is not caused by exposure to light. Polluted outdoor air is the source of most ozone found indoors in homes, offices and public buildings. Ozone can also be generated indoors by electrical equipment such as electrostatic air filters (electronic dust precipitators) that may be part of heating and air conditioning systems in homes, office buildings, restaurants, and other public buildings to remove dust, tobacco smoke, etc. Electrostatic air filtration units are also supplied as small tabletop devices. Potentially harmful pollutants may be found in combustion products from gas stoves; in addition, microscopic droplets of cooking oil and grease in cooking fumes can damage unframed prints. Because of the wide range of environmental conditions in which prints may be displayed or stored, the data given here will be limited by the Unprotected Resistance to Ozone ratings. That is, when ozone resistance tests are complete, in cases where the Unprotected Resistance to Ozone predictions are less than the Display Permanence Ratings for displayed prints that are NOT framed under glass (or plastic), and are therefore exposed to circulating ambient air, the Display Permanence Ratings will be reduced to the same number of years given for Unprotected Resistance to Ozone even though the Display Permanence Rating for unframed prints displayed in ozone-free air is higher. For all of the reasons cited above, all prints made with microporous papers and dye-based inks should always be displayed framed under glass or plastic. For that matter, ALL displayed prints, regardless of the technology with which they are made, should be framed under glass or plastic sheets. This includes silver-halide black-and-white and color prints, dye-sub prints, and inkjet prints made with dye-based or pigmented inks on swellable or microporous papers, canvas, or other materials. 6) Prints stored in the dark may suffer slow deterioration that is manifested in yellowing of the print paper, image fading, changes in color balance, and physical embrittlement, cracking, and/or delamination of the image layer. These types of deterioration may affect the paper support, the image layer, or both. Each type of print material (ink/paper combination) has its own intrinsic dark storage stability characteristics; some are far more stable than others. Rates of deterioration are influenced by temperature and relative humidity; high temperatures and/or high relative humidity exacerbate the problems. Long-term dark storage stability is determined using Arrhenius accelerated dark storage stability tests that employ a series of elevated temperatures (e.g., 57C, 64C, 71C, and 78C) at a constant relative humidity of 50% RH to permit extrapolation to ambient room temperatures (or other conditions such those found in sub-zero, humidity-controlled cold storage preservation facilities). Because many types of inkjet inks, especially those employing pigments instead of dyes, are exceedingly stable when stored in the dark, the eventual life of prints made with these inks may be limited by the instability of the paper support, and not by the inks themselves. Due to this concern, as a matter of policy, Wilhelm Imaging Research does not provide a Display Permanence Rating of greater than 100 years for any inkjet or other photographic print material unless it has also been evaluated with Arrhenius dark storage tests and the data indicate that the print can indeed last longer than 100 years without noticeable deterioration when stored at 73F (23C) and 50% RH. Arrhenius dark storage data are also necessary to assess the physical and image stability of a print material when it is stored in an album, portfolio box, or other dark place. The Arrhenius data given here are only applicable when prints are protected from the open atmosphere; that is, they are stored in closed boxes, placed in albums within protective plastic sleeves, or framed under glass or highquality acrylic sheet. If prints are stored, displayed without glass or plastic, or. continues next page

November 28, 2006 (page 5 of 6)
otherwise exposed to the open atmosphere, low-level air pollutants may cause significant paper yellowing within a relatively short period of time. Note that these Arrhenius dark storage data are for storage at 50% RH; depending on the specific type of paper and ink, storage at higher relative humidities (e.g., 70% RH) could produce significantly higher rates of paper yellowing and/or other types of physical deterioration. 7) Tests for Unprotected Resistance to Ozone are conducted with an accelerated ozone exposure test using a SATRA/Hampden Test Equipment Ltd. Model 903 Automatic Ozone Test Cabinet (with the test chamber maintained at 23C and 50% RH and the ozone concenration in the accelerated test set at 5ppm) and the reporting method outlined in: Kazuhiko Kitamura, Yasuhiro Oki, Hidemasa Kanada, and Hiroko Hayashi (Seiko Epson), A Study of Fading Property Indoors Without Glass Frame from an Ozone Accelerated Test, Final Program and Proceedings IS&Ts NIP19: International Conference on Digital Printing Technologies, sponsored by the Society for Imaging Science and Technology, New Orleans, Louisiana, September 28 October 3, 2003, pp. 415419. WIR test methods for ozone resistance are described in: Michael Berger and Henry Wihelm, Evaluating the Ozone Resistance of Inkjet Prints: Comparisons Between Two Types of Accelerated Ozone Tests and Ambient Air Exposure in a Home, Final Program and Proceedings: IS&Ts NIP20 International Conference on Digital Printing Technologies, pp. 740745, sponsored by the Society for Imaging Science and Technology, Salt Lake City, Utah, November 2004. Also available in PDF format from <www.wilhelm-research.com> <WIR_IST_2004_11_MB_HW.pdf>. 8) Changes in image color and density, and/or image diffusion (image bleeding), that may take place over time when prints are stored and/or displayed in conditions of high relative humidity are evaluated using a humidity-fastness test maintained at 86F (30C) and 80% RH. Depending on the particular ink/media combination, slow humidity-induced changes may occur at much lower humidities even at 5060% RH. Test methods for resistance to high humidity and related test methods for evaluating short-term color drift in inkjet prints have been under development since 1996 by Mark McCormick-Goodhart and Henry Wilhelm at Wilhelm Imaging Research, Inc. See: Mark McCormick-Goodhart and Henry Wilhelm, New Test Methods for Evaluating the Humidity-Fastness of Inkjet Prints, Proceedings of Japan Hardcopy 2005 The Annual Conference of the Imaging Society of Japan, Tokyo, Japan, June 9, 2005, pp. 9598. Available in PDF format from <www.wilhelm-research.com> <WIR_JapanHardcopy2005MMG_HW.pdf>

See also, Henry Wilhelm and Mark McCormick-Goodhart, An Overview of the Permanence of Inkjet Prints Compared with Traditional Color Prints, Final Program and Proceedings IS&Ts Eleventh International Symposium on Photofinishing Technologies, sponsored by the Society for Imaging Science and Technology, Las Vegas, Nevada, January 30 February 1, 2000, pp. 3439. See also: Mark McCormick-Goodhart and Henry Wilhelm, Humidity-Induced Color Changes and Ink Migration Effects in Inkjet Photographs in Real-World Environmental Conditions, Final Program and Proceedings IS&Ts NIP16: International Conference on Digital Printing Technologies, sponsored by the Society for Imaging Science and Technologies, Vancouver, B.C., Canada, October 1520, 2000, pp. 7477. See also: Mark McCormick-Goodhart and Henry Wilhelm, The Influence of Relative Humidity on Short-Term Color Drift in Inkjet Prints, Final Program and Proceedings IS&Ts NIP17: International Conference on Digital Printing Technologies, sponsored by the Society for Imaging Science and Technology, Ft. Lauderdale, Florida, September 30 October 5, 2001, pp. 179185; and: Mark McCormick-Goodhart and Henry Wilhelm, The Correlation of Line Quality Degradation With Color Changes in Inkjet Prints Exposed to High Relative Humidity, Final Program and Proceedings IS&Ts NIP19: International Conference on Digital Printing Technologies, sponsored by the Society for Imaging Science and Technology, New Orleans, Louisiana, September 28 October 3, 2003, pp. 420425. 9) Data from waterfastness tests are reported in terms of three subjective classes: high, moderate, and low. Both water drip tests and standing water droplets/gentle wipe tests are employed. 10) Fluorescent brighteners (also called UV brighteners, optical brighteners, or optical brightening agents [OBAs]) are white or colorless compounds added to the image-side coatings of many inkjet papers and nearly all plain papers to make them appear whiter and brighter than they really are. Fluorescent brighteners absorb ultraviolet (UV) radiation, causing the brighteners to fluoresce (emit light) in the visible region, especially in the blue portion of the spectrum. Fluorescent brighteners can lose activity partially or completely as a result of exposure to light. Brighteners may also lose activity when subjected to high temperatures in accelerated thermal aging tests and, it may be assumed, in long-term storage in albums or other dark places under normal room temperature conditions. With loss of brightener activity, papers will appear to have yellowed and to be less bright and less white. In recent years, traditional chromogenic (silver-halide). continues next page
November 28, 2006 (page 6 of 6)
color photographic papers have been made with UV-absorbing interlayers and overcoats and this prevents brighteners that might be present in the base paper from being activated by UV radiation. It is the relative UV component in the viewing illumination that determines the perceived brightening effect produced by fluorescent brighteners. If the illumination contains no UV radiation (for example, if a UV filter is used in framing a print), fluorescent brighteners are not activated and, comparatively speaking, the paper appears to be somewhat yellowed and not as white. This spectral dependency of fluorescent brighteners makes papers containing such brighteners look different depending on the illumination conditions. For example, prints displayed near windows are illuminated with direct or indirect daylight, which contains a relatively high UV component, and if an inkjet paper contains brighteners, this causes the brighteners to strongly fluoresce. When the same print is displayed under incandescent tungsten illumination, which has a low UV component, the brighteners have little effect. Another potential drawback of brighteners is that brightener degradation products may themselves be a source of yellowish stain. These problems can be avoided by not adding fluorescent brighteners to inkjet photographic papers during manufacture. When long-term image permanence is of critical importance with museum fine art collections, for example papers with fluorescent brighteners should be avoided where possible. 11) Although the waterfastness of the color image itself is very high with this paper, the absorbent paper base itself may become cockled, curled, and physically distorted after contact with water. For this reason, the waterfastness of this paper/ink combination is listed as moderate.