What did you aim for in developing ChromaLife100+?
Ogino: In 2005 we launched ChromaLife100 system for long-lasting beauty of photos with a combination of Canon’s genuine dye inks and photo paper. 3 years have passed since then, and we decided to advance ChromaLife100. Our aim was even higher quality of photo prints and further increased longevity. By upgrading the quality of color reproduction ChromaLife100 delivers, we have achieved even more beautiful photos with more than 300-year in album longevity and approx. 20-year gas fastness. Also, we now provide three kinds of photo paper resistant to light and gas while previously there was only one such kind, Photo Paper Pro PR-101, available. Thanks to this achievement, ChromaLife100+ deserves “PLUS” for its name. And, if you look at the rainbow of the logo, you will notice it is stretched. We intend the stretched rainbow to represent the improved longevity.
What made it possible to evolve the predecessor into ChromaLife100+?
Yoshizawa: Making further improvement was a very high hurdle for us to clear since ChromaLife100 had already delivered considerable quality and longevity. The difference now from then was in the timing for developing photo paper and ink. In ChromaLife100, the compatible photo paper had already been in the market ahead of inks. Therefore, the dye inks, which followed the paper, had to be tailored to fit the paper. In ChromaLife100+, on the other hand, we developed paper and dye inks in parallel. This allowed the inks to be supplemented by the photo paper while the paper could be developed in accordance with the feature of the dye. What made ChromaLife100+ possible was the collaboration between those in charge of developing the inks on the one hand and those developing the paper on the other.
What was the key to the successful collaboration between the two development teams of the photo paper and the inks?
Yoshizawa: We clearly divided responsibility between the ink team and the paper team for improving color reproduction and longevity. This helped the collaboration a lot. From the early stage of development, the two teams showed prototypes each other and discussed them, so that they could decide the direction to pursue together. Regarding longevity, for example, the ink team dealt with gas fastness and light fastness, and the paper team with resistance to humidity and environmental changes. We employed new materials for all dye inks and formulated their optimal composition for new photo paper. Thus, it is up to the new paper to make full use of the newly developed inks.
Kamo: The paper consists of 6 layers, each of which has different role, such as color reproduction, absorption, and protection. Even dye inks with high quality of color reproduction turn out differently depending on which layer to receive the inks. To bring out the best quality of the dye inks, adjustment on the part of the paper for inks to stay in the most optimal layer is necessary. We frequently exchanged information including the type of dye, so that we could make optimal adjustment.
Was there any other difficulty you faced?
Yoshizawa: I think we caused our print head development team hardship in adopting ChromaLife100+ to the new PIXMA. That is because they needed to develop a print head capable of highly reliable and accurate ejection with the new dye inks of new materials. The ink tank also was to contain new materials. So, we had in-depth discussion with the print head team.
Kamo: The new photo paper, “Photo Paper Pro Platinum PT-101”, is thicker and harder than existing ones. Cooperation from our mechanical designers was also crucial for the new PIXMA series to feed it smoothly.
