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Articles by Chris A. Paschke, CPF GCF CMG
"Static Mounting Ilfochrome Classics"
February 1997
What is the conservation
approach to handling a Cibachrome, is only half the question. How is a cibachrome best presented, might be
the rest of the question. I realize far
too many people think of them just as fancy high gloss photographs which are a
pain to handle and can be mounted as any other photograph. In actuality, cibachromes are no more like
any standard RC (resin coated) photo than a Polaroid is.
Polyester Based Cibachromes
Ilford Color Products set the
standards for production of color prints and transparencies through the
development of it's Cibachrome process.
In 1991, ILFORD changed the name of it's patented "Cibachrome"
to "Ilfochrome Classic".
Glossy Ilfochrome Classics
are based on a unique silver dye bleach system using azo dyes which are
incorporated during manufacturing, different from RC images which form dyes
from color couplers during developing.
Cibachromes therefore offer excellent image stability, crispness and the
most lightfast color photo process currently available. In fact, under
specified conditions and with proper developing and materials, the process is
guaranteed against color shift by Ilford for 200 years.
The "Deluxe Glossy"
surface materials have an opaque white polyester base 7 mils thick coated on
the back with a matte gelatin layer. The
100% polyester base makes the photo print more dimensionally stable while the
gelatin backing equalizes the surface tensions making them lie flat.
Other Cibachrome Materials
Besides the Ilfochrome
Classics, Ilford makes an extensive line of additional Cibachrome print
materials from transparency display films to RC emulsions. The same cibachrome emulsion as above is
available as a semimatte finish or "Pearl Surface" on a resin-coated
paper core base, making it an RC photograph.
Though a beautiful image, it does not showcase the same high gloss, long
term color permanence as the polyester based materials described above.
Substrate Selection
The key challenge is to
maintain the smooth gloss surface of a cibachrome, without creating
"orange peel". This is when
the glossy photo surface exaggerates the visual texture of the underlying
substrate material appearing pebbly or lumpy.
Substrates, therefore, play an important part in this equation. Aluminum and plastics such as Lexan make excellent
substrates because of their dimensional stability (won't expand/contract with
humidity) and generally smooth surfaces.
Most other possible mounting
materials have their own individual problems.
Mat boards, paper based mounting boards, and most foam center boards
create orange peel. Rigid surfaced
boards (Gatorboard, Ryno-board, Masonite) may be
smooth but outgas formaldehydes unsuitable for archival storage. Regardless of the selected substrate, one
needs to remember that the total amount of overall pressure applied during
mounting will also impact the overall detectable visual orange peel.
Handling and Mounting Suggestions
In general, special handling
procedures should always be initiated when dealing with photographs, but
cibachromes are much more sensitive than RC.
Pearl surface RC cibachromes are no more sensitive than a normal RC and
routine photo handling procedures apply to them. In fact, they are often almost
indistinguishable from any other RC aside from the developing paper stating
"Cibachrome" or "Ilfochrome Classic" on the back. They may be mounted, laminated and canvas
transferred as any RC photo.
White cotton photo gloves
should always be worn during examination at the design table and while
framing to prevent finger oils and fingerprints. Moisture from one's own breath when blowing
dust from the surface can produce permanent water spots, while wiping the
surface with a clean rag can develop severe scratches in the sensitive emulsion
(photo 1/top right).
Being much more sensitive in
nature, polyester Ilfochrome Classics require alternative methods for mounting.
The question is never "can it be mounted", as in whether the
polyester will tolerate the heat of dry mounting, but rather "should it be
mounted", in that the heat may effect the visual
deluxe gloss surface of the image.
Cibachromes will not
physically melt until reaching the 300F range, but will begin to reflect the
substrate texture--orange peel--at low end 170F heat settings. Normal mounting temperature ranges of
180-200F will increase the visual texture (orange peel) and excess temperatures
of 210F will also damage the gloss emulsion by mottling or blotching it
significantly (photo 1/left side).
Ilford recommends cold
mounting or low temperature heat applications for cibachromes. In the photo industry, cold mounting
sometimes defines as "dry mounting without heat" as when
pressure-sensitives are the adhesive of choice (3M PMA, Crescent Perfect
Mount).
In the framing industry, any
form of mounting without heat is cold mounting (wet, spray or P-S) but they
aren't always dry applications (wet, spray).
Confused? Just remember if you
are dealing with a photographer, dry mounting does not always mean
"heat" applications with a press, it can mean pressure-sensitive too.
Alternative to Mounting
There are perhaps better
solutions or alternatives to physically mounting a cibachrome which maintains
the initial dignity of the pure Ilfochrome Classic high gloss appearance. Though the manufacturer may lean toward
affixing the photo to a backing, the more acceptability archival version would
be to use corner pockets; edge strips; T-, pendant, or flange hinges. Hinging remains the most reversible and
non-invasive method for mounting, and hinging in connection with use of static
electricity can maintain the image dignity while effectively holding the photo
in place (photo 2).
Buckling and Warping
Cibachromes are flat but
floppy. The larger the print (bigger
than 11x14") the more they have a tendency to buckle from their own
weight, potentially slipping out of upper corner pockets and slouching in the
center of the mat window. So edge strips
which support around the photo or hinges might sound preferable.
There is also a tendency,
however, with larger images (16x20" and up) for the center of the
polyester print to be sucked to the surface glazing due to static electricity. Even
when hinging preserves the dignity of the smooth surface and there appears no orange
peel, there can be a warping toward the glass.
The Static Process
The idea is to create a mini
"sink mat" out of the protective plexi surface paper. The plexi is cut to desired mat board size
along with the selected mat(s). Cut mat
opening, with gloved hand align photo into centered position onto paper covered
plexi and draw pencil line around actual exact borders of Cibachrome print (photo 3).
Set print aside, score
protective paper about 1/64" larger around exact pencil lines and peel
center protective paper away from plexi.
The remaining surface paper will act as a thin mini sink mat to hold
small cibachromes into position through the static and window mat alone.
If photo is to be shipped or
aggressively handled as in hung in numerous locations during exhibition. Try a combination of flange hinging and the
natural creation of static electricity from a peeled piece of Plexiglas acrylic
sheeting, paired for a smoothly dignified mounting presentation. The hinge will flatly support large heavier
cibachromes preventing them from buckling while the static maintains the center
contacted to the backing, thus preventing warping towards the glazing.
It is recommended to apply
the acid-free pressure sensitive flange hinge across the entire top of the
photo, not just in typical pendant hinge locations. Flange hinging is applying a folded V-hinge
across the entire top of a hinged item (photo
4).
In this case archival
Japanese hinging techniques are not required for hinging since the 100%
polyester print can not actively absorb adhesives from any pressure-sensitive
tape. Also remember, too much moisture
when applying starch hinges can create permanent cockling damage at the hinge
points with a photo just as with paper.
Final Assembly
Cut the mat window allowing a
1/4" overlap onto the cibachrome for additional edge support. It is the lifting of the photo edges that
will break the static contact to the backing which holds the photo in
place. The mat will ensure the static
bond is not broken whether hinged or just static sink mat mounted (photo 5).
Pricing
Yes, this is a pricier
solution to mounting a cibachrome than pressure-sensitive sheet adhesives or Mylar
corners, but this is not an everyday photograph either. In order to present the client with the best
solution to their framing request, also present the best materials, process and
design.
You will need to charge
additionally for the extra acrylic sheeting as a mount board, but more
effective than aluminum. The best
solution to an Ilfochrome Classic challenge is no different than any other as a
frame designer, to enhance and protect the art.
The Ilfochrome is best enhanced by not destroying it's smooth
high gloss surface and protected by not altering or invading it's
longevity.
Special thanks to Paul
McFarland for giving me this tip years ago on static mounting of cibachrome
images. Having played with it
extensively and discussed it's pros and cons with numerous photo conservators
and fine art photographers, the concept has been a huge success.
END
For more
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Additional
information on mounting basics is found in
The Mounting and Laminating Handbook, Second Edition, 2002
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.
There is a
special buy two get one free promotion which get's you all three signed
editions
for the
price of $45 plus CA sales tax and shipping.
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