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Articles by Chris A. Paschke, CPF GCF CMG
"Endura
Metallic Photos"
December 2003
For years I have been using the December
column to highlight and recap the most asked mounting questions of the past
year. Since the onset of the digital
revolution it has become more and more difficult to separate the two topics of
mounting and digitals. Seems most questions and problems these past months have
surrounded that very revolution. This year I planned on writing an article on
mounting plain and simple, but as I
began to pull together information to finalize my topic digitals and new products
surfaced.
In recent PPFA Hitchhikers and PFM Grumble
forums there has been extensive discussion about the identification, handling
and mounting of digital photos. Seems
they are still turning colors without warning and even the photo labs are not
identifying digital processing to their customers when asked. At my next ISO
meeting set this winter in Washington DC I have a number of framing issues I
plan on bringing up to the digital committee. Hopefully I’ll get more answers for you during
that set of meetings. So in this article, there are two major issues; metallic photographs
and cold roller laminators.
FEAR OF THE UNKNOWN
On The
Grumble recently there was a discussion over laminating metallic photographs.
When I think of a “metallic” photograph I would naturally translate it into a
metallic Mylar substrate or hologram. Responses to the inquiry seemed to echo
my thoughts with “don’t laminate any metallic” to “try applying an acrylic
sealer over it”. Without knowing EXACTLY
what the substrate or materials are, giving any advice can be very dangerous. There are indeed metallic photos out there, though
they actually contain no metal at all.
Customers
may have unrealistic ideas about what may be done to showcase their art, so it
is always up to the framing professional to help guide them through the mine
fields of their original concept of presentation to final display. Years ago we re-educated about the ills of
hanging an oil painting over a fireplace, today it could be laminating a metallic photograph.
KODAK ENDURO METALLIC PHOTO PAPER
New is a metallic photograph paper from Kodak
released during the
first six months of this year called Endure Metallic Paper (photo 1). It has obviously
hit the market because of the plethora of questions and concerns about it over
the forums. It has a glossy finish with a distinctive metallic appearance (photo 2).
The metallic
look of the paper is only a support feature accomplished by inclusion of
something called micro voids in the base rather than actual metallic particles.
Image stability and lightfastness of Endura Metallic Paper is excellent at 100
years in typical home display, 200 years in dark storage, but only 1-5 years in
commercial display. It shares the same
emulsion as the Kodak Supra Endura Paper and performs in similar fashion. Plus
the paper is designed for both traditional and digital printing. It is compatible with Kodak and numerous other
manufacturers’ digital LED printers. This
rises a bit of a red flag I agree.
Since
traditional RC photos easily tolerate heat it would be an assumption that
digital developing and printing would also tolerate heat. And in typical framer test applications of LED
prints, so far, they have easily tolerated the heat tortures of dry mounting. Framers
need to be aware of this paper because of its projected uses, distinct
appearance, handling and tolerances. Expect
to see these photo prints in all aspects of portraiture and social imaging
including: senior portraits, sport cards, weddings, glamour shots, and special
events of all kinds. Commercially the
opportunities are endless as displays.
HEAT TOLERANCE TESTING
Basic preliminary
testing of the photos were at temperatures of 150°F, 175°F, 195°F using a
Bienfang 210M-X mechanical press, a sheet of permanent ColorMount tissue
adhesive, and Bainbridge 4 ply unbuffered photo board. The results showed no
reactions to traditional mounting temperatures nor were there any indications
to suggest use of cold mounting procedures might be advised (photo 3). The high gloss surface was also unaffected by
any heat applications.
As a result
of the initial heat testing it was then decided to test for higher temperature
laminates. A single strip of Bienfang textured
linen laminate was applied across the top of the mounted photo. The vinyl laminate was then mounted at 220°F
for five minutes using ½” thick overlay foam and standard single sided release
paper. The top edge of photo 3 shows the laminate which mounted beautifully.
Since the
laminate was mounted to the dark area only it was difficult to tell whether it
impacted the metallic appearance of the photo.
In photo 4 a typical heat-set surface laminate used in picture framing
was applied to challenge the metallic appearance of the photo, but there was
still no change in the image (photo 4).
Since the test laminate was the higher
temperature Bienfang product, obviously lower temperature Drytac/Hot Press
laminates will also be fine for these images.
METALLIC APPEARANCES
It was stated on one of the email exchanges
that the metallic gloss would be damaged and/or lost if heat mounted or
laminated. Reflections of the photo surface
shows there has been no change to the metallic appearance of the photo even
after temperatures of 220F for as long as ten (10) minutes (photo 5).
All around,
they seem to react just like any traditional RC color photo to standard handling
and framing practices, meaning they are susceptible to fingerprints and orange
peel. Even though average dry mounting
temperatures have no effect on Endura Metallic Papers, selecting a lower
temperature adhesive such as Bainbridge SpeedMount will always aid in the
control of other photo issues such as orange peel. Another note: solvent tests on surface
emulsion using UnStik (UnSeal), Undo, and Bestine Thinner showed no damage when
spot cleaning, but fingerprints were nearly impossible to remove.
TRADING IN HEAT MOUNTING
As products and production changes with new
technologies, so does the handling of artwork. When preservation took hold some ten years ago
it was a matter of educating the public to the benefits of conservation and the
need for preservation materials to protect their valued art. The same is now true with the digital
revolution. Once again framers are
challenged with educating our customers over new materials needed to best
preserve and showcase their art.
Just asking them questions is not proving to
be enough. More than once in the past
few months I have been asked about melted, green photos that were stated by the
developing lab to be standard traditional film photos. Remember from past articles, that although
they came from film in a camera, they could still have been scanned into or
developed using digital technologies, now making them officially digitals. Even lab technicians are fighting to learn the
new information and 21st century technologies.
The problem is we cannot often tell the difference
between the duck and the goose. They
look the same; both have white feathers, a long neck, and webbed feet. And when
it has been confirmed by the lab to be a duck, and we then treat it as we have
all ducks for years using traditional heat feed methods, why are these
confirmed ducks turning out to be geese after all? Because the lab personnel still are thinking
all foul are fed the same, so it doesn’t really matter. But it does. So what is the heat alternative?
IF YOU CAN’T STAND THE HEAT…
Roller laminators have been the mounting
system of choice for the past 20 years in the photo, sign and reprographics
industries, because of their cold mounting methods, but have not been actively
exhibited nor available in the picture framing industry. I am not saying that heat dry mounting is to
become a thing of the past, but cold rollers are becoming the obvious
alternative.
For years the major companies I have consulted
for and worked with have been asking the same question of me, “what is going to
happen with mounting when framing?”, and for years I have been saying cold
rollers, cold rollers. With the recent
acquisition of Tullis Russell Hot Press by Drytac, I think we will finally be
seeing more active promotion and availability of cold roller machines in the
framing industry. There has been a
serious need for them for a number of years now with very limited availability.
The concept of mounting rollers is like a
wringer washing machine. It compresses
the layers under pressure while moving between the rollers, so the air may be
squished out the back as it is bonded together. Models may be bought with heat or cold
options; individual temperature settings for the rollers; variable depths for
board thicknesses; speed controls of pass-through; and pressure adjustments.
Average time and pounds per square inch (psi)
are 3 feet per minute at 50psi. A
standard vacuum press has an average or 12-15psi, while a mechanical press is 2-4psi.
They may be manually operated or
compressor controlled and are available up to 72” wide. They are aggressive and can be a bear to
adjust, but when aligned properly are work horses. Prices will vary from low to
high depending on width required, intended use, assorted bells and whistles.
The companies listed below are sources for roller
machines and associated products. I sincerely hope to be seeing these companies
at our shows and in our industry more and more.
Coda, Inc.
Daige Inc.
Drytac/Hot Press
Drytac
GBC Films Corp
Repro Technology
Seal Graphics Americas 410.379.5400 www.sealbrands.com
THE CUSTOMER IS ALWAYS RIGHT
The old adage about the customer always being
right does not define the same as it did twenty five years ago. In fact with technology as it is today,
sometimes no one may be right! It’s getting
tougher to tell the difference between right and wrong, particularly when
additional players like professional photo labs and open edition publishers are
not passing on the whole correct story. In
their defense, however, it could be they just don’t realize the information
they are sending out is vital to the long term life of a given image. Education and communication is required from
all sides, and between all parties: developer, consumer, framer and displayer.
In order for the technologies of today and
tomorrow to not be the death of framers we need to listen and learn from each
other. The ongoing questions we continue
to ask will enlighten all those involved. Just keep looking for help, reading
everything you can get your hands on, ask questions, and be patient.
It’ll all work out…I hope.
END
PHOTO 1 ENDURO METALLIC PHOTO PAPER
A new RC photographic paper from Kodak called Endure Metallic Paper hit the
consumer market the first half of this year.
PHOTO 2 REFLECTIVE METALLIC FINISH
It is a high
gloss reflective finish with a distinctive metallic appearance, as seen in this
unmounted photo.
PHOTO 3 HEAT TOLERANCES
Basic
preliminary mounting of the photo at 150°F, 175°F, 195°F as noted along the
right side of this sample including the laminated strip of 225°F at the top shows
tolerances are extremely high. Allowing for average dry mounting temperatures
to be used with these RC photos.
PHOTO 4 LAMINATE TESTING
The arrows
at bottom indicate the unmounted 1/3 at the left, traditionally mounted center
using ColorMount and 4” wide gloss finish laminate down the right side of the
photo. After initial mounting and laminating, the release liner was laid over
the laminate lower right corner, and repressed to remove the typical texture created
by the sponge.
PHOTO 5 METALLIC STABILITY
The reflections of the photo surface shows
there has been no change to the metallic appearance even after temperatures of
220F for 10 minutes though the laminate has toned down the nearly wet
appearance of the original photo gloss. Again, the metallic was not changed,
the photo gloss finish was.
For more articles on mounting basics look
under the mounting section in Articles by Subject.
Additional information on all types of
mounting 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.
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