Digital BW, The Print

Martin,

>One of the things that puzzles me is that we know that the 
>technology exists to build laser printers that would exposure 
>silver fiber paper yet none of the major producers of silver 
>fiber paper seem to have pursued this. Instead
>they seem to have put all their efforts into producing inkjet papers.
>...

I tried to find an outfit that had one of the color-RC-paper-exposing laser
systems that would allow me to try a fiber print.  They had no interest.
Apparently the way the machines are set up they are not very flexible or
user-friendly when it comes to modifying the processes.  The economies of
scale just are not there for B&W fiber prints.


>I can't imagine displaying any paper art without glazing. 
>The surface is too fragile and the materials vulnerable to 
>insect damage among other things.

The question is whether there is a material, perhaps with a spray or
lamination, that can give sufficient protection and look good.  Many
paintings are displayed without glass.

>> It's possible that encapsulated carbon could be better than 
>> carbon-on-cotton in terms of protecting the image from 
>> damage, including from moisture, air pollution, and oxidizing 
>> gasses.  Moisture seems to be a major factor in fading, for example.

>Aren't the UltraChrome inks ... resin encapsulated pigments? In regard to
>the black inks this does not seem to offer any significant fade resistance
>but perhaps the coating is too thin.

I had thought the coating would protect them also, but it seems to be there
only to help them stick onto the paper.  

>In 2001 when I circulated the varnished prints that Mark Romine and I had
>done independently I included a single print that was on Kodak Ultima Satin
>with two coats of Krylon Clear spray. This ... seemed to be the print
>most people preferred over the varnished matte papers. ...

Yes, I remember that set of prints.  I liked the Ultima Satin print also.

>... I remain much more comfortable with the life
>expectancy of prints on quality non-barrier papers ...

I think that will remain true with many for a long time.  For the family
photo albums, I'll still push the carbon-on-cotton as the
reproduction/preservation system of choice.  However, it should be under
mylar or sprayed for protection.  The physical damage of the old prints I've
dealt with is worse than the fading.

It's the display prints that I'm focused on for the sprayed barrier-paper
option.  I think the impact of that higher dynamic range might be a real
eye-catcher.  If it also is reasonably long-lived, all the better.



> Even if you coat the print your mats would degrade pretty quickly ...

What mats?  :)  

I'm thinking of dry mounting (or other system) on foam core, cutting to
exact, pre-made (cheap) frame size, and slapping it together.  High visual
impact, as well as low cost and labor are major factors in this project.

To minimize the risk of physical damage, is there a mounting substrate that
is acid free and harder than foam core or mat board? 

Paul
www.PaulRoark.com