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Author Topic: The surface of things  (Read 6180 times)
jjlphoto
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« Reply #20 on: January 05, 2007, 02:51:14 PM »
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I just had my Silver Rag 30x40 prints framed under polarized glass. [a href=\"index.php?act=findpost&pid=93324\"][{POST_SNAPBACK}][/a]

I did not now there was polarized glass. I have seen the Conservation Glass with the AR coating, and if you see a light source in it, it appears like a faint green light just like in someone's eyeglasses, or a camera lens.

Anyone considdr glass-less framing? The Innova FinaPrint F-Type Gloss surface is so nice, it seems like a shame to hide it.

I saw a Robert Maplethorpe show many, many years ago in Chicago, and his platinum-palladium prints were glass-less.

I can understand durability issues, when printing on the Hahnemuhles, the scuffing issue is such a PITA, that I am seriously considering moving on. But the Innova seems more durable.
« Last Edit: January 05, 2007, 02:51:54 PM by jjlphoto » Logged

Thanks, John Luke

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Brian Gilkes
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« Reply #21 on: January 06, 2007, 04:54:26 AM »
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Paper choice is not only personal, it depends on image. A fellow came in here recently to check out some papers. He picked up an image on paper X." Feels like cardboard," he said.
"It looks cheap and trashy.  What is it?" "It's paper x " I said. He then looked at a number of other papers  Finally he picked up another print. "This is what I want " he said. "This one looks fantastic.It's exactly what I was looking for". Needless to say it was paper x
Re. glass framing. It does protect the print physically and from a lot of UV and ozone damage.
Acrylic encapsulation  does the same thing. Both help appearance of saturation and blacks but distance the "presence" of the print. It has to be the way to go in domestic situations.
Galleries have more options. A work we have recently completed for artist Valerie Sparks at 1.1 x 6 meters was much too big for glass. The National Gallery of Victoria , who purchased it, are now displaying it by pinning it to a wall. Another method that I have seen uses tiny but powerful magnets to hold the print to a sheet of steel. No pin marks.
Artists books, with tipped in images are becoming popular.
In any of the non-framed situations some sort of protective coating is a must.
This comment does not apply to Platinum/Palladium
Cheers,
Brian,
www.pharoseditions.com.au
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Boghb
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« Reply #22 on: January 06, 2007, 02:45:14 PM »
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My favorite BW inject prints are still the K4 piezography on Hahnemule rag using Imageprint -- under glass of course.  I still regret giving that quadtone-dedicated epson 7500 away.

I am going to try my best at achieving similar results with k3 and Crane Museo Max, which will be more practical and durable.  

Coating vs. glass: last year I had to frame a bunch of prints in Iran where I could only find highly reflective glass, so I opted for coating done professionally.  The prints were on Hahnemule matt paper, and the results were OK.  But I'd have to say a properly framed print under good glass looks much more noble (as my German friends would say).
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