Re: How do prints from the Epson 8550 compare to higher-end pigment printers?
I’ve started printing with an Epson Luster paper and a Canon Matte..soon to follow.
With Keith Cooper’s profiles, the Luster paper looks great and skin tones look good. I like saturated colors with some material and the printer can accomodate, whereas I like subtler colors with skin tones and again things seem to work out if I do my part.
Again, for those working on a Mac, make sure that you install the full Epson print driver and don’t let the operating system choose the system Air driver.
Anyway, I think that this printer will do what I need it to do. I’ll be printing 81/2”x11” prints and boxing them for a given year. That will be my alternative to printing a top quality 12”x12” album with MPIX. I’m thinking of a protective spray on the matte paper might be best for loose prints that people handle.
Re: How do prints from the Epson 8550 compare to higher-end pigment printers?
I’ve started printing with an Epson Luster paper and a Canon Matte..soon to follow.
With Keith Cooper’s profiles, the Luster paper looks great and skin tones look good. I like saturated colors with some material and the printer can accomodate, whereas I like subtler colors with skin tones and again things seem to work out if I do my part.
Again, for those working on a Mac, make sure that you install the full Epson print driver and don’t let the operating system choose the system Air driver.
Anyway, I think that this printer will do what I need it to do. I’ll be printing 81/2”x11” prints and boxing them for a given year. That will be my alternative to printing a top quality 12”x12” album with MPIX.
Re: How do prints from the Epson 8550 compare to higher-end pigment printers?
After reading all comments above and watching a number of videos, I now understand what attracts photographers to this printer. First, I have a better idea of how colors may subtly suffer with few ink colors and I suspect this will show up with skin tones. That said, I believe that the operative word in the last sentence is, “subtly”. Second, I now understand that for all practical purposes, without unprotected sun exposure, the print colors should last for a long time. Results are strongly dependent on paper use and color management. So, I think that figuring out what papers work best with what subjects & profiles is key here. Lastly, I shoot a good bit of B&W, either film, or monochrome camera. How have you managed B&W printing so as to stop crushing deep shadows and negate unintended toning of the B&W print?
Feb 19, 2026 at 10:56 AM
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