Digital BW, The Print

Hi,

I just tried out some Renaissance wax as a final coat on Epson Premium Luster 
paper.  It seems to work really well, giving an almost invisible finish to the print.  I 
rubbed it on the print with a cotton cloth and then buffed lightly with another.  Dries 
very fast and becomes quite hard - won't show finger prints.  I also tried putting it on 
after spraying the print with Premium Art Print Shield and it goes on even easier and 
smoother.  I am planning to try out this combination on large 32x40 and 40x50 prints 
mounted on gatorfoam or dibond and framed without glass.  I'm still a little worried 
about how durable this combo will be and about how it will affect the longevity of my 
pigment ink (10K) prints.  

However, the blurb from Renaissance (sold by Light Impressions for $19.95/8oz) 
says that it is acid-free, developed for preservation use, and used by museums on 
the surface of fiber-based silver photographic prints.  I also tried it on Photorag for 
the hell of it - turns the image to soft mush.  I'm hoping that this is the solution to 
my quest for glassless framing.  If not I may use another spray such as Liquetex.  
What I like about the Print Shield/Wax combo is that it gives a surface that is 
relatively indistinguishable from the untreated print. 

I haven't tried it on Epson Premium Semimatte yet.  I just ordered a roll and printed 
on it for the first time using my custom profile for Luster and can't easily tell the 
difference between it and Luster, except the semimatte is very smooth and the 
Luster has a very fine pebbly texture when viewed in certain light.  I wish it came in 
sheets as well as rolls.  Cheers,

Tom Andrews
http://www.wildlandart.com

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tom Andrews" 
<tandrews@b...> wrote:
> Hi,
> 
> I just tried out some Renaissance wax as a final coat on Epson 
Premium Luster 
>is there


is there a way to have a wax finish and glassless framing
using epson enhanced matte? 

jerry

Hi Alan,

I'm not sure what a lap mark is.  With a little gentle buffing with a cotton cloth 
immediately after applying a very thin coat of wax, I get a very smooth even 
surface viewed in any light.  I am putting wax on pig inks on RC paper (Epson 
Premium Luster); and first spraying the print with Premier Art Print Shield 
makes it easier to apply the wax.  One early print I waxed that hadn't been 
sprayed had some of the ink surface lifted off by too vigorous buffing.  Waxing 
matte papers such as Enhanced Matte doesn't seem to work, it clouds the 
image.  Waxing large prints will indeed be fairly slow, but no set up, no foul 
smelling carcinogenic spray or face masks, no special spray booth, no clean 
up, and I can do it myself.  Mostly it yields a great looking, almost invisible, 
surface.  

Tom Andrews
http://www.wildlandart.com

> 
> Tom,
> 
> Were you able to get the lap marks out using wax?  Try as I might they 
> wouldn't completely go away for me. It would be a pain to wax large prints. 
> BTW pig inks on RC paper have to be sprayed first.  Waxing matte paper 
> doesn't do much for it.
> 
> AZ
> 
> At 04:46 PM 1/14/04 +0000, you wrote:
> >Hi,
> >
> >I just tried out some Renaissance wax as a final coat on Epson Premium 
Luster
> >paper.  It seems to work really well, giving an almost invisible finish to 
> >the print.  I
> >rubbed it on the print with a cotton cloth and then buffed lightly with 
> >another.  Dries
> >very fast and becomes quite hard - won't show finger prints.  I also tried 
> >putting it on
> >after spraying the print with Premium Art Print Shield and it goes on even 
> >easier and
> >smoother.  I am planning to try out this combination on large 32x40 and 
> >40x50 prints
> >mounted on gatorfoam or dibond and framed without glass.  I'm still a 
> >little worried
> >about how durable this combo will be and about how it will affect the 
> >longevity of my
> >pigment ink (10K) prints.
> >
> >However, the blurb from Renaissance (sold by Light Impressions for 
> >$19.95/8oz)
> >says that it is acid-free, developed for preservation use, and used by 
> >museums on
> >the surface of fiber-based silver photographic prints.  I also tried it on 
> >Photorag for
> >the hell of it - turns the image to soft mush.  I'm hoping that this is 
> >the solution to
> >my quest for glassless framing.  If not I may use another spray such as 
> >Liquetex.
> >What I like about the Print Shield/Wax combo is that it gives a surface 
> >that is
> >relatively indistinguishable from the untreated print.
> >
> >I haven't tried it on Epson Premium Semimatte yet.  I just ordered a roll 
> >and printed
> >on it for the first time using my custom profile for Luster and can't 
> >easily tell the
> >difference between it and Luster, except the semimatte is very smooth 
and the

> >Luster has a very fine pebbly texture when viewed in certain light.  I 
> >wish it came in
> >sheets as well as rolls.  Cheers,
> >
> >Tom Andrews
> >http://www.wildlandart.com
> 
> 
> Build a Lookaround!
> The Lookaround Book, 2nd ed.
> NOW SHIPPING
> http://www.panoramacamera.us

Tom,

Were you able to get the lap marks out using wax?  Try as I might they 
wouldn't completely go away for me. It would be a pain to wax large prints. 
BTW pig inks on RC paper have to be sprayed first.  Waxing matte paper 
doesn't do much for it.

AZ

At 04:46 PM 1/14/04 +0000, you wrote:
>Hi,
>
>I just tried out some Renaissance wax as a final coat on Epson Premium Luster
>paper.  It seems to work really well, giving an almost invisible finish to 
>the print.  I
>rubbed it on the print with a cotton cloth and then buffed lightly with 
>another.  Dries
>very fast and becomes quite hard - won't show finger prints.  I also tried 
>putting it on
>after spraying the print with Premium Art Print Shield and it goes on even 
>easier and
>smoother.  I am planning to try out this combination on large 32x40 and 
>40x50 prints
>mounted on gatorfoam or dibond and framed without glass.  I'm still a 
>little worried
>about how durable this combo will be and about how it will affect the 
>longevity of my
>pigment ink (10K) prints.
>
>However, the blurb from Renaissance (sold by Light Impressions for 
>$19.95/8oz)
>says that it is acid-free, developed for preservation use, and used by 
>museums on
>the surface of fiber-based silver photographic prints.  I also tried it on 
>Photorag for
>the hell of it - turns the image to soft mush.  I'm hoping that this is 
>the solution to
>my quest for glassless framing.  If not I may use another spray such as 
>Liquetex.
>What I like about the Print Shield/Wax combo is that it gives a surface 
>that is
>relatively indistinguishable from the untreated print.
>
>I haven't tried it on Epson Premium Semimatte yet.  I just ordered a roll 
>and printed
>on it for the first time using my custom profile for Luster and can't 
>easily tell the
>difference between it and Luster, except the semimatte is very smooth and the
>Luster has a very fine pebbly texture when viewed in certain light.  I 
>wish it came in
>sheets as well as rolls.  Cheers,
>
>Tom Andrews
>http://www.wildlandart.com


Build a Lookaround!
The Lookaround Book, 2nd ed.
NOW SHIPPING
http://www.panoramacamera.us

At 02:33 AM 1/15/04 +0000, you wrote:
>Hi Alan,
>
>I'm not sure what a lap mark is.  With a little gentle buffing with a 
>cotton cloth
>immediately after applying a very thin coat of wax, I get a very smooth even
>surface viewed in any light.  I am putting wax on pig inks on RC paper (Epson
>Premium Luster); and first spraying the print with Premier Art Print Shield
>makes it easier to apply the wax.  One early print I waxed that hadn't been
>sprayed had some of the ink surface lifted off by too vigorous 
>buffing.  Waxing
>matte papers such as Enhanced Matte doesn't seem to work, it clouds the
>image.  Waxing large prints will indeed be fairly slow, but no set up, no 
>foul
>smelling carcinogenic spray or face masks, no special spray booth, no clean
>up, and I can do it myself.  Mostly it yields a great looking, almost 
>invisible,
>surface.
>
>Tom Andrews
>http://www.wildlandart.com
>
> >
> > Tom,
> >
> > Were you able to get the lap marks out using wax?  Try as I might they
> > wouldn't completely go away for me. It would be a pain to wax large 
> prints.
> > BTW pig inks on RC paper have to be sprayed first.  Waxing matte paper
> > doesn't do much for it.
> >
> > AZ
> >

Tom,

I kept getting un-even thickness of wax that would buff out where the 
application strokes over-lapped each other - must not have been holding my 
tongue right.
There is hope then, that waxing may be a good solution.  It is the best 
looking surface I've seen so far. Keep on trucking and report back.

AZ

Build a Lookaround!
The Lookaround Book, 2nd ed.
NOW SHIPPING
http://www.panoramacamera.us

The Renaissance wax treatment worked beautifully for my 2200 UT prints on Ilford 
smooth pearl as well.  Very nice, smooth finish and it completely eliminated both 
bronzing and gloss differential artifacts.  I tried it on prints that were sprayed first 
with Premier Art Print Shield and also on un-sprayed prints.  Both looked good, but as 
you noted the wax was somewhat easier to apply to the sprayed prints.  I also dried 
the prints well between sheets of copy paper for two to three days before either 
spraying or waxing to make sure most of the glycol was gone from the prints.

  --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tom Andrews" 
<tandrews@b...> wrote:
> Hi,
> 
> I just tried out some Renaissance wax as a final coat on Epson Premium Luster 
> paper.  It seems to work really well, giving an almost invisible finish to the print.  I 
> rubbed it on the print with a cotton cloth and then buffed lightly with another.  
Dries 
> very fast and becomes quite hard - won't show finger prints.  I also tried putting it 
on 
> after spraying the print with Premium Art Print Shield and it goes on even easier 
and 
> smoother.  I am planning to try out this combination on large 32x40 and 40x50 
prints 
> mounted on gatorfoam or dibond and framed without glass.  I'm still a little 
worried 
> about how durable this combo will be and about how it will affect the longevity of 
my 

> pigment ink (10K) prints.  
> 
> However, the blurb from Renaissance (sold by Light Impressions for $19.95/8oz) 
> says that it is acid-free, developed for preservation use, and used by museums on 
> the surface of fiber-based silver photographic prints.  I also tried it on Photorag for 
> the hell of it - turns the image to soft mush.  I'm hoping that this is the solution to 
> my quest for glassless framing.  If not I may use another spray such as Liquetex.  
> What I like about the Print Shield/Wax combo is that it gives a surface that is 
> relatively indistinguishable from the untreated print. 
> 
> I haven't tried it on Epson Premium Semimatte yet.  I just ordered a roll and printed 
> on it for the first time using my custom profile for Luster and can't easily tell the 
> difference between it and Luster, except the semimatte is very smooth and the 
> Luster has a very fine pebbly texture when viewed in certain light.  I wish it came in 
> sheets as well as rolls.  Cheers,
> 
> Tom Andrews
> http://www.wildlandart.com

Lee Valley tools in Canada (offer a very good mail order service) offer
this product that looks similar:
http://www.leevalley.com/wood/page.asp?SID=&page=20090&category=1%2C190%2C42950&ccurrency=1
or if it wraps in your email here is the tiny url:
http://tinyurl.com/2s6ec
has anyone tried it?

Regards,

Ellie

Carl Schofield said:
> The Renaissance wax treatment worked beautifully for my 2200 UT prints on
> Ilford
> smooth pearl as well.  Very nice, smooth finish and it completely
> eliminated both
> bronzing and gloss differential artifacts.  I tried it on prints that were
> sprayed first
> with Premier Art Print Shield and also on un-sprayed prints.  Both looked
> good, but as
> you noted the wax was somewhat easier to apply to the sprayed prints.  I
> also dried
> the prints well between sheets of copy paper for two to three days before
> either
> spraying or waxing to make sure most of the glycol was gone from the
> prints.

-- 
Ellie Kennard
Innovative Imaging Studio
http://www.iiStudio.com
Contributor to Photoshop Restoration & Retouching (2nd edition) by Katrin
Eismann

I haven't tried this particular product, but based on the description  
it seems to be the same as the Renaissance wax sold by Light  
Impressions.

Carl

On Friday, March 26, 2004, at 09:28  PM, Ellie Kennard wrote:

> Lee Valley tools in Canada (offer a very good mail order service) offer
> this product that looks similar:
> http://www.leevalley.com/wood/ 
> page.asp?SID=&page=20090&category=1%2C190%2C42950&ccurrency=1
> or if it wraps in your email here is the tiny url:
> http://tinyurl.com/2s6ec
> has anyone tried it?
>
> Regards,
>
> Ellie
>
> Carl Schofield said:
>> The Renaissance wax treatment worked beautifully for my 2200 UT  
>> prints on
>> Ilford
>> smooth pearl as well.  Very nice, smooth finish and it completely
>> eliminated both
>> bronzing and gloss differential artifacts.  I tried it on prints that  
>> were
>> sprayed first
>> with Premier Art Print Shield and also on un-sprayed prints.  Both  
>> looked
>> good, but as
>> you noted the wax was somewhat easier to apply to the sprayed prints.  
>>  I
>> also dried
>> the prints well between sheets of copy paper for two to three days  
>> before
>> either
>> spraying or waxing to make sure most of the glycol was gone from the
>> prints.
>
> -- 
> Ellie Kennard
> Innovative Imaging Studio
> http://www.iiStudio.com
> Contributor to Photoshop Restoration & Retouching (2nd edition) by  
> Katrin
> Eismann
>
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