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Articles
by Chris A. Paschke, CPF GCF CMG
"Digital, Digital, Digital"
September 2005
"DIGITAL,
DIGITAL, DIGITAL..." that’s what was printed on the top of my latest Kmart
receipt, "...Kmart offers digital processing, prints, CDs, overnight, and
in our 1 hour photo lab." Boy times have changed. Surprising? Not really.
I also noticed one of this year's television ads from Kodak addressing the loss
of in-hand pictures, then goes on to their promote new digital camera docking
unit which prints out digital photos right there on the dining room table. Remarkable? No. Rather predictable and
somewhat everyday with the onset of the whole digital revolution. But it does impact our industry. No photos,
no framing, simple equation. So I am thrilled with the new push by photo and
printer companies to get images printed out.
And even with
Kmart, Walgreens, and Wal-Mart pushing to educate and encourage digital printed
photos, still only 25% of digital camera users actually get their digital
images printed. So what's a framer to do? Though some 97% of individuals claim
to be interested in having their photo snapshots printed out, most never actually
do it. Appearance, slow print speed, and
cost of at-home photo printing is giving new blood to the free standing commercial
photo kiosk.
COMMERCIAL KIOSKS
Kiosks are the free
standing, user friendly units from Kodak, Fuji, Sony, et al. that have been
seen almost everywhere from full service drug stores and discount centers to shopping
malls. I remember seeing my first Kodak kiosk back in the early 90s, which was basically
just a glorified copy station. So you could get out the red-eye, blow it up, cut
things out, add cutesy borders, then print. You could get what you wanted, and
do it yourself. Fabulous innovative computer hands-on technology. And perfect
for the scrap booking revolution that was to soon follow.
Today, kiosks are
consumer friendly complete digital input sites, developed by a host of assorted
manufacturers and found commonly in large retail operations. Today, kiosks
produce prints from memory cards, CDs, or traditional film while still
cropping, enlarging and editing. Welcome to the real 21st century. Now we are
able to do it ourselves, more professionally, or with help.
There are free
standing kiosks will print images on-site as you wait, or units that will send
your electronic information to the store's on-site minilab that will generally
offer 1-2 hour processing while you shop. The major difference between these
two kiosk printer, besides doing-it-yourself or having it done for you, is the technical
process behind the resulting photo image. The free standing do-it-yourself kiosk
produces a digital dye-sublimation print, while the in-store minilab uses a
chemical developing process on traditional RA-4 photo paper.
Recent email chat
on PPFA Hitchhikers and TheGrumble has included framing retailers considering
getting into the photo kiosk business. The framer would be more limited to the
dye-sublimation do-it-yourself models unless they have the resources to also
install a minilab. This could be a great source for one-stop shopping, whether
standard size ready-made photo frames or for custom framing. Once your customer
has printed their dye-sublimation images, then why not have them framed?
TYPES OF DIGITAL IMAGES
The basic types of
digital imagery associated with consumer photo printing include dye-sublimation,
laser, and inkjet printing. Plus under
inkjet there are the additional subcategories of phase change, thermal and
piezo printers. Different technologies
have different time, temperature, and moisture tolerances, so understanding
digital processes are vital to the mounting and framing of digital photos.
DYE-SUBLIMATION PRINTS
Kiosks aside, the
Kodak 8500 and 8660 are among the portable dye-sublimation (aka dye transfer) models
often used by professional wedding photographers, but too pricey for the
general consumer. Of course wedding photography and memorabilia is a common custom
framing topic so it should be known these images are often dye-sub
technology.
Dye-sublimation is
a high temperature thermal transfer of inks pressed onto a wax-like paper, also
called dye transfer. The high
temperatures required during the transfer process are so much greater than any
dry mounting temperatures (in the high 300̊F range) these images are
totally heat tolerant. And since they are also moisture resistant they may be wet,
dry, or pressure-sensitive mounted as any traditional photo. The chemicals and
solvents in most spray adhesives would be best kept away from these images
though.
Dye-sublimation
papers may have a bit of a pearlized look and very slightly texture to the back
side, and may say Mitsubishi, Kodak Image Magic, or Sony Electronic, among others. This
helps the framer attempt to identify what exactly they have as in traditional photo
or digital dye-sub photo. Obviously the wedding photographer could fill in the
blanks when there id a question over the handling of these images also.
Small in-home
photo printer docks using PictBridge connection technology are also
dye-sublimation printers. Common affordable models include: Olympus P-10
Printer, Sony DPP-EX7, and Canon CP400. Though often limited to 4x6"
images, these are the quickest and simplest way to print quality photos at
home.
LASER ON PHOTO PAPER
Laser printed
digitals on photo paper look and feel like traditional photos because they have
been printed on the same type of paper, just using a different process. In a
traditional darkroom, photos are developed by projecting light through the original
film exposing and processing the paper using RA-4 chemistry. A digital
darkroom, uses bits and bites of computer information exposes the photo paper
to red, green and blue lasers (or LEDs), then the paper is processed using RA-4
chemistry.
These laser
printers are not the same black-and-white laser text printers we would purchase
for home-office use, they are expensive, large format units for professional
developing in minilabs. Common laser equipment will use papers like Fuji Crystal Archive or Kodak Professional Paper. Since these
photos have been printed on real photo paper using traditional RA-4 chemistry
they may be mounted using any desired technique, but orange peel needs to be
controlled by selecting a smooth substrate and high gloss scuffing
possibilities should be considered if dry mounting.
INKJET PRINTS
Inkjet printers
including Hewlett-Packard, Epson and Lexmark are well known common home office
printers which also print digital photos. Most of these will be limited to 8x10"
photo size based on actual printer limitations. Consumer photo papers are
available for inkjet that will produce nice photographic results, but it is
reminded that using proper OEM materials will produce the best end product. By
that I mean Epson printers should use Epson inks on Epson Photo Papers. And the best images must also have been shot for
approximate printed size at high resolution, and in turn printed at high
resolution, which uses a lot of ink.
Inkjet technology
varies with manufacturer, but basically it is the process of spitting ink onto
the receptive paper of choice. Though printer manufacturers are integrating
surface coatings to help make images more moisture resistant after drying,
water and moisture based mounting techniques should be avoided.
Hewlett-Packard,
Canon S-series, and Lexmark thermal printers are heat sensitive at temperatures
over F155 degrees and at time durations of over 30 seconds. Epson piezo
printers are heat tolerant for any time and temperature. Solvents do not impact
water based inkjet inks, but water moisture might, so be careful of adhesive
choices. Perhaps pressure-sensitive adhesives or low temperature/short duration
heat activated boards are the best choice. Fortunately many of these photo
papers will state Epson, Hewlett-Packard, Kodak Electronic Imaging Paper, or something that helps designate
its origin.
SNAPSHOT VS. FINE ART
There are assorted
categories that define and cluster digital images and digital printing types
together. One, as mentioned above, designates the image variations between
traditional RA-4 photo developing and pure digital. Another important category
establishes the difference between the consumer snapshot and the fine art
digital photo. Fine art digitals are often printed on wide format printers
using the highest quality papers and inks, as with the giclée you've heard tell
about.
Professionally
printed digital photos can have more vibrant color and the image may appear
much crisper, somewhat like an Ilfochrome Classic (aka Cibachrome). Glossy
photo quality papers are also available for wide format high end inkjet
printers (not laser) that make it very difficult to tell digital photos from
traditional developing.
The scanner,
printer, dyes and paper all come together to print the most photographic
looking photo. The more vibrant dye based inks sometimes have higher light fade
issues though, with shorter image life span. But even that is being worked on
by printer and ink manufacturers. So mounting is not the only fear when handling
a digital photo, but so is lightfastness, so framing with UV protective glazing
is highly suggested.
MOUNTED OR NOT?
So, should a digital
photo be mounted or not? Depends on the photo and your ethical beliefs behind
photos in general. The photo jury
(meaning photo conservators) remains out on this one regardless of traditional
or digital, small or wide-format, snapshot or fine art, making it a green light
for framers any way they choose to handle photos. The bigger question is what
type of photo is it? Will it tolerate heat? And does it need to be kept away
from moisture or solvents?
All photos should
be glazed, digitals even more so. They need greater protection from the
elements.
In conclusion, do
your homework, ask customer questions and know what you are dealing with. The
dye-sublimation or RA-4 print from Kmart will mount, laminate AND even canvas
transfer just fine as long as you know that's what you have to work with!
END
For more articles
on design see the Design Series under Articles by Subject.
Additional
information on mounting basics is found in The Mounting and Laminating
Handbook, Second Edition, 2002, and The Mounting And
Laminating Handbook, Third Edition, 2008. Creative Mounting,
Wrapping, And Laminating, 2000 will teach you everything you need
to know about getting the most from your dry mount equipment and materials as
an innovative frame designer. All books are available from Designs Ink
Publishing through this website.
For live
consultations with Chris Paschke, CPF GCF call Designs Ink, 661.821.2188. A
flat fee of $25 will be charged for each new technical problem. Unlimited calls
or emails are allowed for each established mounting problem.
Chris A Paschke,
CPF GCF
Designs Ink
Designs Ink
Publishing
785 Tucker Road,
Suite G-183
Tehachapi,
CA 93561
661.821.2188
info@designsinkart.com