Luminous Landscape Forum
Raw & Post Processing, Printing => Printing: Printers, Papers and Inks => Topic started by: maxs on January 09, 2018, 02:39:42 pm
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Once I get a large printed image on fine art or good photographic paper. Say 30x30 or larger. How are folks preparing them for display? Are you sticking the paper onto a board in the back with glue? or putting git into a glassless frame? Ideas/Suggestions welcome.
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Once I get a large printed image on fine art or good photographic paper. Say 30x30 or larger. How are folks preparing them for display? Are you sticking the paper onto a board in the back with glue? or putting git into a glassless frame? Ideas/Suggestions welcome.
The largest size I personally go up to is 24"x36". I put my prints on self-adhesive gatorfoam available at Foam Board Source.
Patrick
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I build box frames and hand apply them with a double sided psa.
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I prefer canvas wraps. Paper prints that big need to be dry mounted if you want them to stay flat
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Sometimes on foamboard, if I have the time, the heat-activated, otherwise it's spray mount. For canvas, it's either a gallery-wrap on a frame or to the heat-activated foamboards, up to 40x60. Other times, I use 3M poster clips on the wall or even push-pins if the wall allows their use. I just don't have the budget, time nor space to frame these images unless it's for a commission and someone else is paying the bill!
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Expensive, but having them mounted on an aluminium substrate such as Dibond is elegant, flat and durable. See my article Aluminium Composite (https://luminous-landscape.com/mounting-prints-on-aluminium-composite/) about this process on this website.
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For random one offs, I have a couple of https://www.displays2go.com/P-5245/Retail-Hanging-Display-72 - it gives me a way to support a large print with a temporary clamp.
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Expensive, but having them mounted on an aluminium substrate such as Dibond is elegant, flat and durable. See my article Aluminium Composite (https://luminous-landscape.com/mounting-prints-on-aluminium-composite/) about this process on this website.
Mark,
Interesting article. Question is I am not in Germany and I do not know how this can (even possible) to do it in a DIY mode?
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Not sure what kind of archival qualities u are wanting but I have mounted a few large (36x48-60 inch) prints using twin tac to adhere to mat board and then mounting mat board to mdf (or any other semi rigid substrate. I then mount all this to a metal float frame intended for canvas. I go for a more contemporary look so not sure this matches your taste. I do all of this by hand using a brayer and get pretty good results.
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Other times, I use 3M poster clips on the wall
Do you mean these:
https://www.amazon.com/Command-Poster-Hanging-Strips-Update/dp/B01NAPB5D1/ref=sr_1_20?ie=UTF8&qid=1515588668&sr=8-20&keywords=3m+command+poster+hanging+strips
or something else?
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Mark,
Interesting article. Question is I am not in Germany and I do not know how this can (even possible) to do it in a DIY mode?
I said right up-front in the article that I got this done right here in downtown Toronto (Ontario, Canada). I don't know where you live, but this process is surely available in many cities around the world. It is definitely not a DIY process. As the article says, it requires some large machinery and training to do it properly.
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Dry mounting onto Dibond (or much less expensive alternative) is a relatively easy process if you have one piece of equipment, a cold roller mounter. I was ready to buy one of these a few weeks ago new for £450 and then discovered one available on eBay just an hour drive from home. I bought this 26.5inch wide cold roller in perfect as new condition for just £100. A roll 25metre roll of transfer adhesive for £75 and any substrate you want to use and you are in business.
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................you are in business.
Well, it depends on what kind of business you are in. If you are after a very high-quality professionally finished product that kind of DIY solution won't necessarily make the grade. This kind of mounting requires a lot of pressure and precision to obtain a flawless result time after time. I'm reliably informed that you couldn't count on a device costing this little to deliver at that performance level for Dibond, even though it is usable.
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Well, it depends on what kind of business you are in. If you are after a very high-quality professionally finished product that kind of DIY solution won't necessarily make the grade. This kind of mounting requires a lot of pressure and precision to obtain a flawless result time after time. I'm reliably informed that you couldn't count on a device costing this little to deliver at that performance level for Dibond, even though it is usable.
You are wrong on every point you raise. I opened my own pro lab and sold it after twenty years. The lab employed 35 staff and offered full pro services in processing, printing and finishing. We had 52" processors fof Ctype, Cibachrome and B&W. The finishing department had two sets of rollers both 2M wide one hot and other cold. I have a track record in the pro lab market.
I bought the small cold rollers to fulfill an order for thirty prints each 4ft x 2ft. I had the prints made in a fantastic lab in Germany printed on a Lambda using metallic paper. There were superb especially when mounted on the Dibond alternative. I would not stand for selling a second rate product.
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OK - new information to me, as I had been advised otherwise also by a pro lab. Thanks very much.
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I've been using these guys in San Diego for acrylic face mounts. Very reasonable and high quality work and fast turn around.
http://impactvisualarts.com/prices/
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The secret to getting perfect results is to use a high-quality transfer adhesive. This combined with the extremely smooth surface of the aluminum ensures a very strong bond and a glass-like finish for superb metallic c-type "paper".
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............. I had the prints made in a fantastic lab in Germany printed on a Lambda using metallic paper. There were superb especially when mounted on the Dibond alternative. ............
Interesting - at an art fair in Hamburg some years ago I saw exactly this - a photographer who exhibited such prints mounted on Dibond and the effect was literally spectacular - looked like brilliant 3D without needing the glasses. Off topic - but I wonder about the longevity of those C-prints on metallic papers - of course it would vary a lot depending on how displayed or stored.
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It's oriented more to foamcore than dibond, but I would imagine the technique is the same: it seems to use a similar two-sided adhesive film:
http://www.zenith-art-system.de/en/videos/
I've used this method with some 80€ cold rollers for 13"x19" prints on foamcore and it worked fine.
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Dry mounting onto Dibond (or much less expensive alternative) is a relatively easy process if you have one piece of equipment, a cold roller mounter. I was ready to buy one of these a few weeks ago new for £450 and then discovered one available on eBay just an hour drive from home. I bought this 26.5inch wide cold roller in perfect as new condition for just £100. A roll 25metre roll of transfer adhesive for £75 and any substrate you want to use and you are in business.
On a similar 130cm wide one (secondhand 300 euro) I mount mainly matte papers on either a DiBond clone material or polystyrene sheets, both 2mm thick. Usually I laminate the adhesive first to large sheets 1x2m or 1.22x2.44m and then cut that combo to smaller sizes. On a cold vacuum table (1x1.5m) I then first laminate the matte print on the adhesive side of the board, after that the total again through the cold roller mounter with the image protected by an extra paper sheet. The higher pressure possible gives a better bond. With gloss paper, RC, etc the vacuum table is no option but they mount easier on the rollers anyway. The polystyrene sheets are used in frames, the composite sheet ones without frames.
Met vriendelijke groet, Ernst
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
March 2017 update, 750+ inkjet media white spectral plots
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The secret to getting perfect results is to use a high-quality transfer adhesive. This combined with the extremely smooth surface of the aluminum ensures a very strong bond and a glass-like finish for superb metallic c-type "paper".
I presume the other secret is to not have one of these lying around.
Dave
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Yes, a clean work area is important. In the last few weeks, I have made a number of changes to my workspace removing carpets and curtains to help reduce dust.
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Expensive, but having them mounted on an aluminium substrate such as Dibond is elegant, flat and durable. See my article Aluminium Composite (https://luminous-landscape.com/mounting-prints-on-aluminium-composite/) about this process on this website.
Can anyone recommend a good place to have Dibond mounting done in Los Angeles?
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For several years, prints that I make here are taken to a local graphics company, where the prints are mounted to Gator foam (1/2", 3/4" or 1" thickness), laminated with a satin product, edge banded with melamine, and treated on the rear face for hanging. Smaller prints such as 20" x 30" are routed on the rear face to accept typical hangers; large prints receive small block of wood on all four corners with eyelet screws.
The cost is quite low and the appearance, particularly when well lit, is quite good. The satin laminate detracts some from Dmax, contrast and overall punch, but it's not a killer. Post-printing costs for a 44" x 66" piece is about $180, just as an example.
Canson Baryta Photographique or Epson Legacy Baryta is the default paper, but some images look good on metallic paper. Metallic papers pop most with a glossy, rather than satin, laminate.
Archivists won't agree with this approach, but for *most* uses here, it's great. I rarely miss the days of matting, framing and Museum Glass.
John Caldwell
Pittsburgh, PA
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I presume the other secret is to not have one of these lying around.
Dave
Hey, he matches the bedding! Beautiful.
John-