Digital BW, The Print

>
> Congratulations on your exhibition. I have a question about your 
> mounting on
> aluminum plates. I have seen art and large photos (Avedon) mounted this 
> way.
> What advantages - practical or aesthetic do you find? I have also seen
> examples of mount board and paper turning yellow when kept in 
> non-anodized
> aluminum holders - that was a surprise to me.
>

Thanks, I was hoping no one would ask those questions. FWIW here are my 
answers:

The prints were mounted on 2mm aluminum sheets obtained from a metal 
factory, really cheap stuff. For mounting we took into consideration the 
extreme temperatures and humidity plus the fact that the prints were 
made on Fiber  photo paper, RC paper, Epson inkjet and Somerset 
Enhanced. We decided that there had to be some sort of buffer/physical 
barrier between metal and print to reduce wrinkles caused by the 
expansion /contraction of the metal and the reaction of the paper to 
sudden changes in humidity. At the same time we wanted the prints in 
close contact with the sheets. So we decided to use double sided 
adhesive film covering the entire back of the print. Can´t remember the 
name but its the standard film used for mounting, quite expensive. As 
you can imagine this is a total loss system of mounting. Sometime in the 
near future we will collect the prints and it will be interesting to see 
any damage and wither or not that damage added something to the overall 
effect.

I think you have guessed that it was the aesthetics which were the most 
important element.
The Museum is actually a sculpture park set in rough rolling landscape 
with bronze sculptures dotted all over the place. The concrete building 
houses the original plaster casts plus some bronze figures all ranging 
in size from minute to enormous and lit only by natural light. And, our 
photos an interpretation of how we saw the museum.

Against that backdrop I am sure you can imagine how powerful the mixture 
of plaster, bronze, the dull sheen of plain aluminum sheet and 
monochrome prints on paper can play with the every changing natural 
light.

Ok, that was a bit too esoteric, even for me!  But it is nice to visit 
an exhibition/museum where the art is not protected by bullet proof 
glass and a security guard does not jump at you if you stick your nose 
within 2 inches of the artwork. Knowing that the prints are a total  
lose creates a freedom to allow the prints to blend into and become part 
of their surrounding acquiring a life of their own.

I think a lot of your Panoramas would look terrific exhibited on 
aluminum, even if the paper yellowed. I have met a French photographer 
who, just for fun, glued his prints to skate boards which were placed on 
the floor of the gallery. Much to his surprise he sold all but one skate 
board.

I don´t think I can answer your questions fully because it really is an 
aesthetic thing, but I hope some of this is helpful.

Jerry.

At 11:45 AM 4/21/2002 +0200, you wrote:
>
>On Sunday, April 21, 2002, at 10:38 , bjornaagedk wrote:
>
>> Beginners question:
>> What is the advantages of using Cone's piezo driver with Epson
>> 1160 instead of just using the Epson driver?
>> Bjorn
>>
>>
>
>I suggest you contact Rudolph Tegners Museum at Dronningmolle ( tel. 49 
>71 91 77). Ask if they still have the Zone 94 foto exhibition, I suspect 
>it is still there.
>
>If you visit the museum you will see some Piezography ( Cone) prints 
>made by me on an 1160. And, by other photographers, toned piezo prints 
>made on a 3000 with OEM ( Epson) ink and the Epson driver, traditional 
>B&W silver/ toned and some alternative traditional printing. I think all 
>this will give you a good idea of what you can expect from digital 
>printing.
>
>One of the interesting things about this exhibitation is that most of 
>the prints were mounted on aluminum plates and have spent the winter in 
>an unheated concrete museum with a winter temperature of, this year, 
>about minus 9C, on a sunny day the temperature can rise to plus 30C. 
>Lots of high and low humidity.
>
>
>Jerry.
>


Jerry,

Congratulations on your exhibition. I have a question about your mounting on
aluminum plates. I have seen art and large photos (Avedon) mounted this way.
What advantages - practical or aesthetic do you find? I have also seen
examples of mount board and paper turning yellow when kept in non-anodized
aluminum holders - that was a surprise to me. 

AZ
Maker of Lookaround panoramic camera.
http://www.geocities.com/SoHo/Gallery/8874/
         or
keyword.com lookaround

At 06:42 PM 4/21/2002 +0200, you wrote:
>
>>
>> Congratulations on your exhibition. I have a question about your 
>> mounting on
>> aluminum plates. I have seen art and large photos (Avedon) mounted this 
>> way.
>> What advantages - practical or aesthetic do you find? I have also seen
>> examples of mount board and paper turning yellow when kept in 
>> non-anodized
>> aluminum holders - that was a surprise to me.
>>
>
>Thanks, I was hoping no one would ask those questions. FWIW here are my 
>answers:
>
>The prints were mounted on 2mm aluminum sheets obtained from a metal 
>factory, really cheap stuff. For mounting we took into consideration the 
>extreme temperatures and humidity plus the fact that the prints were 
>made on Fiber  photo paper, RC paper, Epson inkjet and Somerset 
>Enhanced. We decided that there had to be some sort of buffer/physical 
>barrier between metal and print to reduce wrinkles caused by the 
>expansion /contraction of the metal and the reaction of the paper to 
>sudden changes in humidity. At the same time we wanted the prints in 
>close contact with the sheets. So we decided to use double sided 
>adhesive film covering the entire back of the print. Can´t remember the 
>name but its the standard film used for mounting, quite expensive. As 
>you can imagine this is a total loss system of mounting. Sometime in the 
>near future we will collect the prints and it will be interesting to see 
>any damage and wither or not that damage added something to the overall 
>effect.
>
>I think you have guessed that it was the aesthetics which were the most 
>important element.
>The Museum is actually a sculpture park set in rough rolling landscape 
>with bronze sculptures dotted all over the place. The concrete building 
>houses the original plaster casts plus some bronze figures all ranging 
>in size from minute to enormous and lit only by natural light. And, our 
>photos an interpretation of how we saw the museum.
>
>Against that backdrop I am sure you can imagine how powerful the mixture 
>of plaster, bronze, the dull sheen of plain aluminum sheet and 
>monochrome prints on paper can play with the every changing natural 
>light.
>
>Ok, that was a bit too esoteric, even for me!  But it is nice to visit 
>an exhibition/museum where the art is not protected by bullet proof 
>glass and a security guard does not jump at you if you stick your nose 
>within 2 inches of the artwork. Knowing that the prints are a total  
>lose creates a freedom to allow the prints to blend into and become part 
>of their surrounding acquiring a life of their own.
>
>I think a lot of your Panoramas would look terrific exhibited on 
>aluminum, even if the paper yellowed. I have met a French photographer 
>who, just for fun, glued his prints to skate boards which were placed on 
>the floor of the gallery. Much to his surprise he sold all but one skate 
>board.
>
>I don´t think I can answer your questions fully because it really is an 
>aesthetic thing, but I hope some of this is helpful.
>
>Jerry.
>

Jerry,
Thank you for your interesting reply to my question.  

I have been eyeing alum. for mounting pans for some time. Avedon's "American
West" show back in 1988 was all mounted on 1/4 in. plate. The prints were 50
in. wide (some spliced to be even larger!) Poly Contrast fiber. They were
not throw-away pictures. I saw the whole show then and have seen individual
prints in other collections but not recently. Occasionally I see various
flat work mentioned in publications as mounted on aluminum. It would be
interesting to ask a real archivist about this. 

A friend of mine just had a show in a real art gallery of his amazing and
functional skateboards. Who would have imagined? He didn't think to do
panorama photo skateboards. 

AZ



Maker of Lookaround panoramic camera.
http://www.geocities.com/SoHo/Gallery/8874/
         or
keyword.com lookaround