Numerous
articles have been written about mounting sensitive and unknown projects
including color copies, giclées, computer generated
art, and yes, photographs. There are
many types of contemporary photographs that may be brought in for framing, most
commonly RC (resin coated), followed by fiber based and Ilfochrome Classics
(Cibachrome).
So, how exactly
is a fiber based photo different from an Ilfochrome or RC photo? Without getting into the technical aspects of
photographic film and developing materials, and staying strictly from a
layman's point of view, a Cibachrome is 100% polyester; a fiber based is photo
emulsion atop a multiple ply paper core; and an RC is developing paper with
resin coating both sides and emulsion on top.
Very simplified yes, but now let's look at each of these independently
in relation to mounting.
ILFOCHROMES IN
REVIEW
In the February
1997 issue of PFM I explained a mounting alternative for Ilfochrome images
called "static mounting". The
nature of the polyester material the image is printed on easily creates the
necessary static to hold it in place against a statically charged acrylic
sheet. Unfortunately this 100%
reversible and totally noninvasive static method will not work when paper (even
resin coated paper) is the base for the photo image rather than polyester.
Ilfochromes
should never be placed into a heat mounting system. If the customer were to insist on mounting
solidly to a substrate then cold mounting options such as p-s film adhesives or
static mounting would better maintain the dignity of the original image. Even low heat for a short period of time in a
press can relax the polyester base material so it conforms to the contours of
the selected substrate (diagram 1).
A smooth Ilfochrome Classic hinged
or static mounted to smooth acrylic maintains the dignity of the photo
Even lower
pressure cold mounting applications using wet, spray, and pressure-sensitive
(p-s) adhesives can create the unsightly rippling of "orange peel" (diagram 2). Heat can relax the photo polyester, but
simply the amount of pressure applied during a cold mounting can result in unwanted
visual surface texture. If a cold vacuum
frame or hand roller is used during application, aggressive pressure can still
be substantial enough to create surface texture invading the original beauty of
an Ilfochrome. Whether hinged, secured
with edge strips, or static mounted, Ilfochromes are best presented as a non-secured
mount.
An Ilfochrome loosely hinged to a
lumpy substrate will not take on the visual appearance of the board.
Heat relaxed the polyester base allowing it to contour
to the orange peel of the substrate. Cold mounting with a roller will force the
image into the highs and lows as well.
THE DIFFERENCE
WITH FIBER BASED
Fiber based photos
used to be found mostly as family studio prints from years ago. Today, fine art photographers are once again
exploring the artistic merits of black and white photography and fiber based
images are becoming quite popular. Where
they were often antique originals before, they may be one of a recent series
today.
The multiple
ply developing paper of a fiber based image is softer, or more pliable, than
its RC counterpart. The thicker paper
base acts as almost a cushion that better contours to the irregularities of the
selected mounting substrate under it, while allowing the emulsion on the top to
remain almost entirely flat (diagram 3).
A fiber base photo is more
cushioned by its soft, thick base allowing for the paper to conform to an
uneven substrate while the surface emulsion remains flat after mounting.
Whether wet,
spray, pressure-sensitive mounted or dry mounted, orange peel does not have to
be an issue when mounting. The most
important point when dealing with fiber based photos is determining their
antique value. If it is an irreplaceable
image (antique value or not), it should be conservation mounted using only approved
alternative methods, as with any original.
THE BIGGEST
ISSUE WITH RC
As with the
Cibachrome print, RC photos are often victim of the dreaded orange peel problem
(diagram 4). The resin coated paper will readily conform
to any distortions of the substrate during dry heat mounting as well as with
higher pressures during cold mounting. A
lighter touch during hand application when using wet, spray and
pressure-sensitive adhesives will often give a relatively smooth end product
with no visual distortion.
Like a Cibachrome, an RC photo
will take on the contour of the substrate.
Mounting on smoother substrates
will reduce the visible texture.
The substrate
chosen for the job will most effect the degree of
orange peel. Grey chipboard, textured
mat board, and many standard mount boards will feel lumpy when lightly touched
with the tips of your fingers. This is
orange peel waiting to happen. Shiny surfaced clay coated foam boards are
probably the smoothest and best paper surface available for mounting.
BACKYARD PRINTS
TO FINE ART PRINTS
But dealing
with lumpy orange peel is really only half the question. What about the conservation issue of mounting
photographs at all?
The backyard
barbecue, the family trip to the Grand Canyon, or the candids from last week's
garden wedding are all open
game for solid mounting.
These are RC prints that have most likely been developed by the corner
discount store or honoree developer. The
customer has the negatives, and generally wants these photos framed
beautifully, flat, and as inexpensively as possible. Sound familiar?
Conservation is
probably not an issue here, and mounting them is fine. Select the smoothest substrate possible to
match the chosen process in an attempt to minimize orange peel. Though any process will work, often p-s and
dry methods may be most long term.
Mounting studio
portraits or fine art photography is also fine, but there is more to consider
with them. It isn't just the mounting of
these photos or orange peel that is the issue as much as light, humidity, and
environmental damage, along with buffering agents that can complicate the
process. Fine art photographic prints
are not considered originals as long as a negative or slide is still in
existence to make additional prints.
Technically they are mountable.
About half of the
photo conservators believe as Ansel Adams did, that mounting a photo will best
preserve it from damage over the years.
The other half believe they may all become the final
"original" remaining over time and should be conservationally handled
right from the beginning.
Photographs by
their very nature are inherently slightly acidic. Buffered mat boards are slightly
alkaline. Matting (acidic) colored RC
photographs with alkaline (buffered) boards, in direct contact with the surface
emulsion, can accelerate damage and color shift.
Once a color RC
photograph (with an existing negative) has been selected for framing it is
considered a "display" photo.
This is one that is expected to eventually fade and deteriorate. The reason it is acceptable to frame a color
wedding portrait with colored buffered boards is the acceptance of the gradual
deterioration from the other elements.
FINE ART PHOTO
ISSUES TO CONSIDER
Studio images
can be Ilfochromes, standard RC, or RC Cibachromes. RC Cibachromes are developed from a slide
rather than a negative onto resin coated paper using Cibachrome materials. The colors are more vivid and the images
sometimes clearer, but otherwise they may be handled and mounted using any process
just as any RC photo.
When framing
photos that have reprint potential any mounting method is acceptable, but pay
attention to technique and materials. If
orange peel is not an issue, mount at any tolerable standard temperature and
time
(180F, 2-4
minutes) in a press and simply deal with the orange peel that might occur.
BASIC
UNDERSTANDING FIRST, THEN JUDGEMENT
There is always
a lot to consider. What to do and when
is the biggest problem. You are the professional
who needs to select the best materials and technique for every framing project
completed. Mounting may be the scariest
because of the potential for mistakes and damage. Time may be money, but so is having to
replace a botched photograph. Set your
standards then be consistent.
Learning about
all of the basic mounting techniques is only half the battle when handling
photographs. You also need to truly
understand the relationships of time, temperature, pressure and moisture to the
materials, and their effect on those mounting techniques. And then also know
before anything is ever mounted how you anticipate it will look when done. This is knowing the
process. Mounting should be
predictable. Orange peel, emulsion
reactions to excessive heat, and trapped air bubbles due to nonporous
applications may all be handled and controlled, but first they need to be
understood.
Photographs can
be a bear, but that bear can easily be tamed with an understanding of wet, spray,
p-s, and dry mounting adhesives, substrates, and techniques. Lions may need a whip and a chair, but bears
only need a leash and understanding.
END
Copyright © 1997 Chris A. Paschke
For more articles on mounting
basics look under the mounting section in Articles by Subject.
Additional information on all
types of mounting and creative applications in:
The
Mounting and Laminating Handbook, Second Edition, 2002,
The
Mounting And Laminating Handbook, Third Edition, 2008,
Creative Mounting, Wrapping and Laminating,
1999.
Chris Paschke, CPF GCF
Designs Ink
Tehachapi, CA 93561
P 661-821-2188
chris@designsinkart.com
http://www.designsinkart.com/library.htm