Digital BW, The Print

Martin,

I'll have to take a look at the water-based Golden acrylic varnish.  For
certain purposes, such coating could definitely be useful if application is
not too burdensome.  I'd like to see some evidence that a particular coating
has archival properties before I used it, however.  Golden may well have
such testing evidence.

I just sealed a print in Light Impressions mylar with archival clear tape.
For refrigerator display of a print that may have long term value (two uses
that may be mutually exclusive), it looks good.  But, like you describe the
lamination look, it is less than optimal.

Of course, I don't really like a glossy finish, which is the main thing I
notice about the mylar-encased print I just did.  Since, like an un-mounted
glossy print, it is not totally flat, the reflections are even more
irritating than the glass-covered prints that are the norm for fine art.

On the other hand, it was easy to use the Light Impressions mylar, and the
print is very well protected from the problems I expect in a kitchen (no
direct sun).

(The again, in my family a steel-plate mount board and a vapor-deposited
diamond coating would probably be needed for true protection.)

Paul

___________________________

-----Original Message-----
From: Martin Wesley [mailto:mwesley250@...]
Sent: Saturday, April 13, 2002 11:28 AM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: Re: [Digital BW] Re: Coating revisited


  Paul,

  I have done a bit of laminating for mundane purposes such as Photo ID
badges
  and signs. Basically the Dmax goes up, the photos are very well protected
  and they look like they have been, well, plastic laminated. Not very
  appealing I am afraid.

  If you are interested in this then look to companies that sell products to
  the sign making industry, which is very inkjet oriented. You can get small
  size laminating equipment and supplies from places like Office Max.

  The Golden coatings Robert and I tried were the water based acrylic
vanishes
  and so the odor is low and the cure times shorter. Robert and Mark tried
the
  Golden solvent base varnishes and found them difficult to work with in
part
  due to the long dry time.

  You will never remove a coating from an ink jet print. It will soak into
the
  paper. What you can do is create an initial sealer coat over which you
apply
  the final varnish. It would be conceivable to remove the upper coats
without
  harming the lower ones and then replace the upper ones as is done in
  painting. This is only something that would be done if the upper coating
was
  damaged. If this were the case an uncoated print by comparison would be in
  very bad shape.

  I have seen heavily varnished albumen prints from the 1870's and the
varnish
  appeared to be in very good condition. The overall effect of the print was
  rather yellow and may in part be the result of the varnish yellowing. None
  of the materials available at that time for varnishing come close to the
  quality of things like the Golden acrylics so keep that in mind.

  My though is that a well varnished inkjet print will most likely out last
  those that are not coated. It is more a question of whether you like the
  effect or not.

  Martin Wesley
  http://www.borderless-photos.de/guests.html


  ----- Original Message -----
  From: "Paul Roark" <paul.roark@...>
  To: "DigitalB&WPrint" <DigitalBlackandWhiteThePrint@yahoogroups.com>
  Sent: Saturday, April 13, 2002 11:48 AM
  Subject: [Digital BW] Re: Coating revisited


  > Stephen Kundell wrote:
  >
  > > ...
  > >Has anyone come up with a system that works with large images, and
  > >truly prevents UV and ozone degradation similar to the benefit of
  > >framed images. I hate that glass between me and the image!!!!
  >
  > Jeff wrote:
  >
  > >  Have you considered lamination? ...
  >
  > I've been mildly interested in coatings and lamination also.  It appears
  > that oxidizers and UV are responsible for considerable long-term damage
to
  > images, so if these alternatives protect the image at a reasonable cost
  > (price, labor and all considered) they could be of interest to me.
  >
  > Of course, how one intends to use the image is a variable that probably
  > determines as much as any factor whether the process is useful or not.
My
  > prints include 16 x 20 display prints, snapshots, and family photos that
I
  > hope last a long time.
  >
  > I've thought maybe vacuum lamination would be the ultimate if it were
  doable
  > and looked good, but I have no samples or knowledge of such a system.
  >
  > I just tried the Lyson Print Guard spray, and test samples of Epson
  Archival
  > Matte with it (and a control strip without any spray) are currently in
my
  > fader.  It's too early to know the results, but the quick look at 100
  hours
  > indicates no advantage to the spray.  So, since it lowers the Dmax, it
  seems
  > like a useless process for my purposes.
  >
  > I downloaded the Golden MSA Varnish information from their website.
This
  > Golden Varnish has received generally good comments here, and it was
among
  > the very few samples in the group of coated photos that was distributed
  that
  > I though might be something I would be able to live with.  (Especially
if
  > Eclipse gives it more of a satin look.)
  >
  > However, for my purposes, I'm inclined to think that any varnish or
other
  > material that touches the image must be able to be removed without any
  > damage to the image.  (Conservationist, I beleive, prefer that prints
not
  be
  > dry-mounted and otherwise be pristine, as far as I know.  I would guess
  that
  > they would insist that any covering be removable.)
  >
  > Golden outlines a method of removing it's varnish with solvents.  But
it's
  > not a process to be taken lightly.  I must say that I'm skeptical it can
  be
  > done without damaging the image and paper.
  >
  > Frankly, for purposes of extending longevity, it seems strange to me
that
  we
  > worry about whether the cellulose in our paper comes from the purest
  cotton
  > as opposed to highly-processed wood pulp; yet, we're talking about
soaking
  > the paper with solvents and varnishes.  These are chemicals I'm not sure
I
  > even want my archival prints close to.  I sure don't want to even breath
  > them.
  >
  > I note that the Golden materials indicate, "MOST curing will occur
within
  > two weeks." [Emphasis added by me.]  This sounds to me like we're
talking
  > about a long out-gassing period.  (Sorry, this just does not sound like
  it's
  > "archival" to me.)
  >
  > For my purposes, I remain interested in protection, but varnishes are
  going
  > to be a hard sell.  I'll probably stay with glass or acrylic for the
  display
  > prints -- which is probably the fine-art standard for some very good
  > reasons.  When the prints are not on display, they can be sealed in bags
  in
  > dark storage.  For family albums, I'll use mylar protectors.
  >
  > So, keeping in mind that I'm just talking about my how I'll maximize the
  > life of my photographs, and not outdoor advertising signs, the varnishes
  do
  > not look likely to be useful.  A vacuum laminate might be very
  interesting.
  > But the best I know of now is UV glass/acrylic and sealed, dark storage
if
  > longevity and archival life are important.
  >
  > Paul
  > http://www.PaulRoark.com
  >
  >
  >
  >
  > Please visit the Group Homepage to check the Files, Bookmarks, Polls and
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