Printing & Mounting Information
Archival pigment print. An archival inkjet or giclée print using pigment based inks producing highly archival prints on 100% acid free cotton rag or Baryta papers. Archival pigment prints are printed one at a time by James Wojcik and archival for 100-150 years providing they are framed behind OP-3 UV resistant plexiglass and not exposed to constant direct sunlight.
Matted Prints. All prints are matted on 16" x 20" 100% acid free white 4 ply Rising Museum board. The window is hand cut 1/4 inch larger than print size, and the prints are held in by acid free corners and linen tape.
Framing. Framing is a personal choice that each consumer needs to make on their own depending on personal style and interior design. With all the wonderful affordable options for framing I can not offer that service at this time. But we can recommend always using OP-3 UV plexiglass or a similar product to best protect your images from damaging UV light rays.
Carbon Transfer Print. Carbon transfer process is one of the oldest permanent photographic print processing techniques. It uses a sensitized emulsion of water, gelatin, sugar, and pigment (lampblack and sumi ink) on sheets of Mylar (the carbon “tissue”). A negative is then contact printed onto the tissue using ultra-violet light as the exposure light source. The UV light raises the melting point of the exposed gelatin. A wet emulsion will bond to the paper, and the combination of mylar, emulsion, and paper is then placed in hot water. The hot water melts some of the emulsion, and when the mylar is pulled away, the image is left on the paper. Carbon Transfer prints from the 4” x 5” Cardboard Construction series were printed by James Wojcik using old stock carbon transfer tissue from the 1960’s which is no longer manufactured.
Chromogenic or C-type print. A color print in which the print material has at least three emulsion layers of light sensitive silver salts. Each layer is sensitized to a different primary color - either red, blue or green - and so records different information about the color make-up of the image. During printing, chemicals are added which form dyes of the appropriate color in the emulsion layers. Before the invention of inject printing it was the most common type of color photograph.
Cibachrome print. Dye destruction prints are made using print material which has at least three emulsion layers, each one sensitized to a different primary color - red, blue or green - and each one containing a dye related to that color. During exposure to a color transparency, each layer records different information about the color make-up of the image. During printing, the dyes are destroyed or preserved to form a full color image in which the three emulsion layers are perceived as one. Dye destruction prints are characterized by vibrant color.
Chromogenic prints and Cibachrome prints are printed by the master printers at Laumont Photographics. Plexiglass mounting is also accomplished at Laumont. http://www.laumont.com
Platinum print. The process depends on the light sensitivity of iron salts to create an image. Chemical reactions exploited during developing, however, dissolve out the iron salts and replace them with platinum. Platinum prints were popular until the 1920's when the price of platinum rose so steeply that they became too expensive. They were valued for their great range of subtle tonal variations, usually silvery grays, and their permanence. Recently platinum prints have enjoyed a revival for fine art photography.
Platinum Printing was done by Martin Axon on the 9” x 12” Freeway prints and the Cardboard Construction prints, as well as on the vintage 5” x 7” Alphabet series prints. http://www.platinumaxon.com