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Author Topic: Epson Lustre  (Read 3297 times)

photomike

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Epson Lustre
« on: December 13, 2009, 04:43:31 pm »

I love the Epson Lustre 260 but would like it to be a little thicker, is there anything with the same surface that is thicker?
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jjlphoto

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Epson Lustre
« Reply #1 on: December 13, 2009, 07:25:07 pm »

InkPress has a LusterDuo 300 g/m2 with a caliper of 12 mils. The Epson you are using is 10 mils.
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williamrohr

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Epson Lustre
« Reply #2 on: December 13, 2009, 11:49:38 pm »

Watch out for "outgasing" if you mount behind glass or acylic.  Not on did I like luster but my customers preferred it ... but I finally gave up when outgasing continued for more than a year on some samples even after drying .... if the sun touches it ... poof more outgasing especially if there there a lot of black in the picture.  Bill
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photomike

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« Reply #3 on: December 14, 2009, 09:23:45 am »

Quote from: williamrohr
Watch out for "outgasing" if you mount behind glass or acylic.  Not on did I like luster but my customers preferred it ... but I finally gave up when outgasing continued for more than a year on some samples even after drying .... if the sun touches it ... poof more outgasing especially if there there a lot of black in the picture.  Bill

That is one reason that I have not pushed it a lot, but I have a number of customers that like it for smaller prints for albums, I would just like something a little thicker for handling.

I have heard that the outgasing is not as bad with the 9900 inks, does anyone know if this is the case?  Has anyone done a test lately with the different papers and the 9900 inks and outgasing?
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GeoffM

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Epson Lustre
« Reply #4 on: December 14, 2009, 02:52:22 pm »

Quote from: williamrohr
Watch out for "outgasing" if you mount behind glass or acylic.  Not on did I like luster but my customers preferred it ... but I finally gave up when outgasing continued for more than a year on some samples even after drying .... if the sun touches it ... poof more outgasing especially if there there a lot of black in the picture.  Bill

I'm new to printing on my 7900 and use Lustre a fair amount. Never heard this term before and I assume it means exactly what it says, but what is the effect when it happens?

Geoff
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photomike

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« Reply #5 on: December 14, 2009, 03:14:52 pm »

Outgasing causes the glass to get a smokey appearance, if you remove the print it will leave a smokey outline on the glass of the image.
« Last Edit: December 14, 2009, 03:15:04 pm by photomike »
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petermarrek

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« Reply #6 on: December 14, 2009, 05:07:40 pm »

Outgassing can also come from acrylic Plexiglass. We used to "cook" our mounting materials in a 5x9Ft. oven for 24 gours to remove moisture and whatever else was in there.
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Scott O.

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Epson Lustre
« Reply #7 on: December 14, 2009, 11:25:29 pm »

I have not had the outgassing problem.  My issue with this paper is strictly based on the 10 mil thickness.  In larger sizes I prefer to mount using the hinge method.  The paper does not have enough body to remain flat.  The amount of "wavyness" seems to be influenced by the humidity.  My experience is pretty much based on the 7600 with Epson inks. I haven't mounted anything from the 7900 yet.  But I do suspect my new paper of choice for semi-gloss will by the Exhibition Fiber.  I love the look of the Premium Semi Gloss, but not much else.  I know Moab makes a Luster, but I have not tried it.
« Last Edit: December 15, 2009, 01:16:39 pm by soberle »
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Paul2660

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Epson Lustre
« Reply #8 on: December 16, 2009, 08:29:12 am »

Unless Epson totally changed the chemistry of the ink set in the 7800/9900 (which maybe they did), I have to assume that
you are going to experience outgassing.  This is going to occur with any RC paper.  It will appear over time as a faint fog
on the inside of the glass.  I have had outgassing issues with 7600, 7800, 9880 and even the old 1280 (pigment ink).  

The problem is that since the back of the paper RC is plastic, the gasses can't pass through the back and are forced to the
front.  With fiber based paper, (Epson Exhibition Fiber, or Museo Sliver Rag are examples) you should not have the same
issue.  

Paul Caldwell
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Paul Caldwell
Little Rock, Arkansas U.S.
www.photosofarkansas.com

williamrohr

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« Reply #9 on: December 18, 2009, 04:09:34 pm »

We analyzed some of the "fog" at one time and it appears to contain ethylene glycol or one of its oligomers.  If this is true one can guess that it may be added to increase the operating temperatures of the inks as it would increase the boiling point of the ink and suppress the freezing point giving a wider operating temperature range.  Unfortunately it probably also therefore lowers the vapor pressure of the ink meaning that the liquid components will evaporate more slowly.  We also measured the temperature inside glass framed prints in partial and full sun and many of them exceeded 240 degrees.  At that temperature the organic components will rapidly evaporate and lead to the "outgassing". As to the ruffling of the edges (correctly referred to as "cottle") we found that by measuring the moisture content in the printed versus the unprinted edges that there was a considerable difference and it is particularly magnified in high moisture environments and especially if the print is subjected to frequent heating and cooling like where we live on the coast.  A solution is to print to the edge (using the clear ink on a Z3100) or using a sealant such as print shield.  The best solution however is to drymount to a stable media such as gator board with a good adhesive such as Biefang Rag Mount --- never had a customer return one yet ... I know its not technically "archival"  ... but if a museum ever calls   ... I'll give them a new print for free.    P.S.  I went to dry mounting when I suddenly realized that an original Ansel Adams print that has been hanging on my wall since the 1960's and which I bought dirrectly from his gallery ... IS DRY MOUNTED ... and it looks as good as the day I bought it.    Bill
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