DIP Online
Designs Ink Publishing Reference Library
Articles by Chris A. Paschke,
CPF GCF CMG
"Mounting Cibachromes"
October 1992
As framers, dealing with
photographs can be a frightening experience when having to confront questions
of image lightfastness, mounting procedures, laminating and conservation. Though generally presented with
RC (resin coated) photos, we may also be presented with image extremes from
antique daguerreotypes to twentieth century cibachromes.
In November 1991, Ilford
Photo Corporation, Paramus, NJ, (originator of the Cibachrome photo processes)
announced the replacement of the "Ciba"
prefix to "Ilfo", renaming their direct-positive, silver-dye material
previously called "Cibachrome" to "Ilfochrome Classic".
Ilfochromes are
materials based on a unique silver dye bleach system utilizing pure azo dyes
which are color incorporated during manufacturing rather than the less
permanent conventional color dyes formed from color couplers during processing
only. The azo dye process incorporates excellent color saturation, superior
image stability and extreme crispness...making them the MOST stable and
lightfast color photo process available.
Ilfochrome finishes are
available as pure polyester based Deluxe Glossy or Brilliant photos, and it
should be noted Ilfochromes are also available as a polyethylene or
resin-coated paper base with a Luster finish. The high gloss, white opaque
polyester based photos are the ones to be dealt with in this article. They are
extremely susceptible to fingerprints, scratches, water drops and should never
be stacked due to their sensitive surface emulsion. Cotton photo gloves are a
must when handling Ilfochromes, and NEVER use abrasive paper towels or tissues
for they will encourage additional scratches much like plexiglas. Also avoid
using anti-static cloths which may deposit unwanted chemicals on the image
surface and could effect mounting.
MOUNTING OPTIONS
There are numerous
substrates available for mounting, each with varying benefits and drawbacks. The
very essence of the glassy smooth, high gloss quality of an Ilfochrome is best
maintained by archival mounting treatments, hinging with Japanese tissues, mounting
corners or side strips. This maintains the desired glass-like surface which set
Ilfochromes apart from RC photos. Spray, wet, cold vacuum and pressure
sensitive mountings are all possible solutions to dealing with Ilfochromes. Though
these methods are also very effective visual solutions by maintaining the
desired glossy surface, since adhesives do not soak into polyester, these
methods will not create the desired long term bond you may wish to achieve. For
a long term bond dry mounting using heat is the most permanent.
ORANGE PEEL
Any time heat is applied
to a photograph, whether RC photo or Ilfochrome Classic, there is a reaction
called "orange peel" which occurs. It refers to an uneven surface
distortion created by the contouring of the photo emulsion to the substrate. Substrates which may be considered should
include clean neutral pH, acid-free boards; but mat board, mount board, clay
coated foam board, acid-free foam board, Chromocore, aluminum, glass and plexi
would all make potential substrates.
Keep in mind the textural differences of each mentioned for when heat is
applied the photo will mirror that texture, the rougher the surface of the
substrate the more pronounced the orange peel. Note: this occurs in the
mounting of regular RC photos also.
The above orange peel
effect may be minimized by controlling the elements of time, temperature,
pressure and moisture (TTPM) as covered in January and February 1992. As with
any mounting procedure, understanding your materials and being able to predict
the outcome is of utmost importance in controlling your desired end
product. Knowing plastics will warp when
heat is applied must be understood.
TIME AND TEMPERATURE
Extensive tests have
been conducted dry mounting Ilfochromes at different times and temperatures,
using various substrates, release materials and adhesives. The best visual dry
mounted results were consistently achieved when using Bienfang Chromocore foam board as a substrate, and Seal's ArchivalMount
tissue. Clay coated foam gives a smoother finish than acid-free foam but you
lose the acid-free benefit. Frequently foam board mounted in less time than
4-ply mat or mount board (probably a result of the foam insulation issue).
Removable, acid-free
tissues (ArchivalMount, TM 4 or Drychival) are delicate low temperature tissues
allowing a 160F press (temperature) and when using a mechanical press require
only 1-2 minutes to mount, depending upon the overall size of the photo. By
limiting the amount of time the Ilfochrome is exposed to any heat minimizes the
orange peel. Although warping of the
photo occurs, it takes heat extremes of 300F to seriously damage the surface
emulsion or begin layer separation. So the bottom line when dry mounting
appears to be almost any breathable adhesive will work on any good quality
substrate, your selection of materials will be determined by the degree of
orange peel you are willing to tolerate.
SNOWFLAKES
Another aesthetic
consideration when dry mounting is the appearance of small starbursts or
"snowflakes" which may occur on the surface or face of a photo any
time a glossy photo (either RC or Ilfochrome) is dry mounted. It seems to be a reaction by the surface
emulsion of the photo to the "silicon" release paper, and you should
always be aware it could happen at any time. It is a somewhat uncontrollable
and unpredictable phenomenon most likely a direct reaction to the surface of
the release paper silica (that very thing which makes it a non-bonding release
paper in the first place). Ilford Photo Corporation suggests in it's 1988
publication "Mounting and Laminating", not to use silicon release
paper when dry mounting it's Ilfochrome (Cibachrome prior to November 1991)
materials, though they don't suggest a plausible alternative.
FRAMING
For museum or gallery
presentation, the most recommended method of mounting once again is using
approved archival materials. This means either matting with 100% acid-free
non-buffered museum boards and polyester corners or hinging with a spacer
between the glazing and the photo print.
The issue of mounting
Ilfochromes is something to be decided between the framer and his client. Considerations
need to be made concerning the use of the photo is it for gallery presentation
or advertising slick. A great way to present the options to the client is by
having visual samples to help explain and illustrate. Create a sample or series
of optional samples using promotional Ilfochromes cut into sections and mounted
using various methods. If a picture is
worth a thousand words...a visual sample will successfully stress your point
and close the sale.
END
For additional information on this topic and many more are found in Chris
Paschke's books, all available this website.
The Mounting And
Laminating Handbook, Third Edition, 2008
The Mounting And
Laminating Handbook, Second Edition, 2002
Creative Mounting,
Wrapping And Laminating, by Chris A Paschke, 2000
Designs Ink Publishing
phone 661.821.2188
fax 661.821.2180
info@designsinkart.com