I'm curious about the aluminum prints. I currently have one print on
aluminum, and it is simply a regular c-print bonded to a sheet of aluminum.
It is an interesting look, especially for the particular photo, as it floats
on the wall, but still, it's, well, a c-print. So do these people somehow do
some sort of emulsion transfer? Is the emulsion coated directly on the
aluminum?
Bill Pearce
-----Original Message-----
From: Bob Whitmire
Sent: Tuesday, December 10, 2013 11:30 AM
To: Olympus Camera Discussion
Subject: Re: [OM] Canvas & Metal Prints
The simple answer would be texture. Canvas always has texture, and some
images are suited to it. I believe Loch Na Keal is one of those. If I were
printing it on paper, and decided not to use one of the papers that are made
specifically for b&w, I would use Epson's Velvet Fine Art, which has a
distinct texture. I haven't tried Trotternish Ridge on anything but my cheap
proof paper, but I can say that the test image does not have a certain
three-dimensional quality present on the canvas print. I know it's an
optical illusion, but, hey, photography is all about illusion, right? <g>
As for aluminum, I like it because it is different, and, I believe, somewhat
fashionable these days. I'm seeing more and more of it. There are four
surfaces available: high gloss, satin, sheer gloss and sheer satin. The high
gloss and satin surfaces emulate glossy and satin papers, and I believe
would be suitable for any image where you want a little bit of distinction
from ordinary paper-behind glass. The sheer surfaces are definitely suitable
for certain images only, as the sheer part refers to the fact that what's
white on the image shows through to the aluminum surface.
I have not used the sheer matte, but I did have one image printed as sheer
glossy.
http://zone-10.com/tope2/main.php?g2_itemId=10076
This one was well-suited to the sheer treatment, and looks rather good on
aluminum. The paper print has sold reasonably well, so I'll be interested to
see if the aluminum print does likewise. (It's much more expensive. <g>)
Also in the near future, I plan to have the following test-printed on
aluminum for the same reason I had Loch Na Keal printed on canvas, i.e, I
want to see how it looks on metal. First I have to test it on glossy and
matte paper to see which surface is better suited. I've printed it on matte
and it's right nice, but I need to try glossy, too.
http://zone-10.com/tope2/main.php?g2_itemId=8876
My reason for trying images on both canvas and aluminum is that in doing so,
I avoid what I consider to be one of the disadvantages to paper prints,
i.e., that they must be framed behind glass. The package is heavy, and the
glass lies between the viewer and the image. For example, I am not a big fan
of prints on glossy paper framed behind glass. That's two levels of shine to
deal with, and for me it's unattractive. Luster is better behind glass,
matte is best. YMMV.
But no glass at all is better still. Of course it's more expensive to put
images on aluminum or canvas, and the final cost of the product is higher
for the consumer, but so far I've sold two rather expensive canvases, and, I
think, six or seven metal prints. (The Scotland prints are principally for
display in my home. I do have a little show about Scotland planned for late
winter/early spring, but I don't intend to aggressively market the Scotland
pictures. One disadvantage in living in a place such as Maine (or Scotland)
is that people who buy the majority of photographs want photos of this area.
They don't come to Maine to buy pictures of Scotland, or to Scotland to buy
pictures of Maine.
--Bob Whitmire
Certified Neanderthal
On Dec 9, 2013, at 4:34 PM, Chris Barker wrote:
> Thanks, Bob. I have a widish panorama of woodland printed on
> aluminium-backed material by Whitewall, a German company. We nearly went
> for printed direct on aluminium, but that requires a certain sort of
> image.
>
> I'd be interested to hear what makes you choose one surface over another –
> if you could put it into words, that is.
--
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