1. When ordering an acrylic mount do you prefer a super gloss print or a metallic print? Why?
1) Understand, a Fujiflex Super Gloss is a chromogenic photo process film, and not a paper and not an inkjet print paper. Being a perfectly flat film, it lends itself to a perfectly flat appearance with no texture behind acrylic. Practically any paper print material will show a texture behind acrylic because of paper pulp. Thus, if you’re an inkjet printer, try printing on a film ;-). In this particular context, the metallic print you’re referring to is made of a paper base, not to be confused with actual metal prints which are a different animal. In my opinion, the metallic paper print only lends itself to special subjects or themes and not to landscapes, generally. Again, just my opinion.
2. Is it worth it to order a 1/4th inch vs. 1/8th thickness acrylic?
2) It’s common to use 1/4 inch plex for sizes over 40x60 inches but “worth it” will be up to you.
3. In addition to West Coast Imaging (and sister company Aspen Creek Photo) are there other vendors that you would recommend?
3) Vendors who understand landscape photographers are Weldon Color Lab in Los Angeles, Photo Craft in Boulder, and Nevada Fine Art Printers in Las Vegas are some options. (There are probably more.) Like West Coast Imaging, these shops deliver impeccable quality and know the Peter Lik product. Definitely look into the Lumachrome product at Nevada Fine Art Printers as a substitute for genuine Fujiflex.
4. And on a very subjective note, is this a look you like/prefer or was/is this just a fad?
If I were to display a landscape, a flat film print behind acrylic is what I would chose. These have been around since the early 80’s using Kodak Duratrans and Duraflex. The process was used almost exclusively by the exhibit industry and for commercial retail merchandising. Remember seeing bus stop shelter signs backlit at night back in the day? Face-mounted Duratrans on acrylic. It was later that photographers learned of the expensive process to differentiate themselves and Peter Lik, bless him, was not the first.
5. What other methods of display/presentation would you recommend for large prints (30x40in & larger)?
Duraflex was handy to use by traveling salesmen in a roll-up window shade banner stand device. Color accuracy was not as important as color vibrancy. On a trade show floor with all the different light sources, the Duraflex and the Fujiflex did “pop.” These light source are key, as they are high, point-source fixtures. Typical gallery lighting is the same high, point-source attribute and therefore, I would be sure to light my print accordingly. A modern “recessed” mount or a traditional frame-and-liner would need to be determined in each circumstance.
I hope this helps.
