PRINT DECISIONS

These five foot square face-mounted acrylic prints provide a powerful display to visitors at Magnolia Gardens.

Paper, Canvas, Metal or Acrylic Photographs?

There are four basic ways to have photographs printed and displayed. These are:

• Paper prints - usually matted and framed
• Canvas prints - displayed without a frame or in a drop frame
• Metal Prints - printed directly on metal, usually displayed without a frame
• Face mounted to acrylic prints - normally printed on paper that is adhered to an acrylic (Plexiglass) facing

In addition to displaying without a frame, canvas, metal and face-mounted acrylic prints may also be displayed in a standard frame or a float mount frame.

Each of these will be discussed in some detail. There are so many choices available now, a customer can be very confused whether the customer is the photographer or the buyer of his work.

Paper Prints

These are the traditional prints we are all used to….but they are better than ever due to improved papers and inks. The black and white darkroom prints that were made in years past are still available from a few traditionalists, but we will be confining this choice to inkjet printed images.

The differences you will find in paper prints are due to the quality of the inks and papers. Archival paper prints are made on acid free papers. These usually cotton fiber but other natural occurring fiber papers are used. The fibers absorb some of the ink for more permanence than having ink lay on the surface. Smooth surfaces will make colors pop more, while textured papers may provide a nicer result for a watercolor or pastel look. If you are making or buying limited edition prints, you should be sure archival inks and papers are used. Because of varying absorptive characteristics of these papers, test prints are often made to insure the result is what the photographer intended. Limited edition prints require a mat so that the glazing does not rub on the print. 

Advantages 
Pure colors
Collectible
Frame to match decor
Selection of paper surface textures
Work well in smaller sizes

Disadvantages
Higher cost than open edition prints
Still need to purchase frame and glazing

Many photographers print their open (unlimited) edition prints on papers that are coated or contain synthetic materials. These papers are also thinner and more susceptible to warping when displayed. To the trained eye, this results in less permanence and less depth of color on the completed print. These prints are anywhere from three to five times less costly to print than archival prints and generally require less quality control since most of the papers handle ink in a similar manner. Commercial printers will also use less costly inks to remain competitive for this print type. Metallic inks and papers are a choice that will add dimension and raise the production cost of these prints.

Advantages
Lowest cost
Works well in smaller sizes
Modern or traditional look depending on framing

Disadvantages
Less impressive
More susceptible to color degradation and warping

Because paper prints can warp ordering prints larger than 18 inches in any dimension, mounting the print to a board is recommended to avoid a wavy surface on the print. My preference is to display prints mounted on Dibond. This is lightweight, easy to hang and has much less risk of damage to the finished work than a print directly on metal.

Simple matting and framing provides an elegant and cost effective method to display your favorite prints.

Canvas Prints

Canvas is available in a variety of textures and finishes. The printed canvas is stretched over a wood frame before it is hung. There are several edge treatment choices for the canvas. One choice is to have the image printed to match the size of the frame, then the sides can be printed as a solid color of your choice. A second choice is to have the outside edges of the printed canvas stretch over the sides of the frame. A third choice is to have the outside area of the image reflected onto the edge of the frame. That is, the image would be printed the exact size of the frame and if the frame were two inches thick, the outside two inches of the print would be reflected onto the frame so you would not lose any of the intended print but it would still look like the same image. For photographers, be sure to ask you printer for advice on this last choice. 

Stretcher frames are made of lightweight woods. There is a big difference in quality of these woods. What you buy at IKEA will not be the same as what you get from a qualified frame shop. If you are considering an entire wall of stretched canvas prints you may wish to ask for varying frame thicknesses (usually 3/4 inch to 3 inches) for an added dimensional feel. Lay this out on graph paper first so you know your sizes and frame thicknesses.

Canvas prints would normally not be considered archival as their surfaces are exposed to the elements, coatings may discolor and they are subject to abrasion. My preference is to use canvas when sizes are larger (over 20 inches per side).

Advantages
Lightweight, so reduced likelihood of injury and easier for one person to hang
Low cost since no finished frame necessary
Can match canvas paintings well
Traditional look

Disadvantages
Not archival
Difficult to clean
Easily damaged and very difficult to repair

Metal Prints

Metal prints are very popular due to their exceptionally vibrant colors. While prints may be made directly on polished aluminum (avoid this until you understand what prints work well), higher quality prints are made over a clear or white lacquer coat. The clear coat allows the silver color to show through in areas that would normally be white. This can work in a few situations, but be sure you like this look before ordering this type of finish. Most prints are over a white layer. Metal prints use a process called dye sublimation. This process uses heat to infuse the color onto the surface. The heat may produce muddier or slight smearing of dark colors, but these prints can be eye-popping enough that this is not noticeable for many consumers. The inks are quite stable, certainly far surpassing anything we found in darkroom. When production houses quote the “life” of these prints they are referring to the inks. Realize that quoted life refers to ideal conditions and that any exposure to UV light will eventually cause fading. 

When window reflections are a bigger concern than maximizing color, then consider a low sheen finish. To maximize color go for the high sheen finish. Either way, it is this outer coat that is not addressed by production labs and is likely to discolor over time.

Metal prints can be ordered with rounded corners to help avoid injury while hanging. This is usually a 1/4 to 1/2 inch radius corner. Most printers will provide a 1/2 inch to one inch mount for the back of the print so the print will come ready to hang. With prints larger than 24 inches in any dimension, a backing should be place behind the metal to stiffen the artwork and diminish the flexing that occurs with large unsupported pieces. If you are going to do this, consider having the a metallic paper print mounted to Dibond instead of a print on metal as mentioned above in the Paper Prints discussion. Another option that is increasingly available is to have the back mount flush to the edges (called an edge mount). This gives a nice finished look while addressing the issue of flexibility of the metal.

Advantages
Reasonably low cost with no need for framing
Dramatic color rendition
Washable and suitable for damp areas
Modern look

Disadvantages
Subject to damage (corner bending and warping)
Discoloration of coating
Sharp edges

Face-mounted to Acrylic Prints (Encapsulated  Prints)

These are the most luxurious and dimensional prints available today. They also require the technical excellence and costly materials from the production lab. When done right in a large size they provide a dramatic and compelling centerpiece for a room. Basically a print (archival or not) is sandwiched between a front sheet of acrylic and a back sheet of acrylic or other stiffening material such as Sintra. Then a museum mount is glued to the back of the finished work. Metallic papers and inks are often used to maximize brilliance. 

Avoid prints directly onto acrylic (rather than paper mounted to acrylic) and prints faced with softer or discoloring acrylics. Ask for museum grade materials that contain UV protection. Pricing varies greatly with the choice of materials. The higher cost of these prints is greatly offset by not having matting and framing costs. Choose these prints for larger sizes…24 inches or more per side.

Advantages
Classiest, most luxurious look
Easy to clean surface 
Modern look

Disadvantages
Can be heavy depending on thickness of acrylic and backing
Cost
Acrylic can be scratched

My recommendation is to choose one or two of these formats for displaying your photographic art. For a large wall display, vary sizes and shapes as well as mounting thickness. For the newer photographer, stick with framed paper prints and several metal prints or one large acrylic face-mounted print for your masterpiece. If you are displaying in a small gallery, metal prints in 16x24 to 24x36 sizes are likely to give your the immediate highest ROI. Then let you customers know you can provide the other formats. If you are opening a luxury gallery, stick with face mounted acrylic and larger sizes of framed prints.

For businesses, any of the formats will work….just be consistent and make sure to consider the length of service required and the need for anti-reflective materials.

For the home decorator, my preference is to stay away from the metal prints unless you want a short term display. If your decor is traditional, stick with framed prints and canvases. If your decor is contemporary or modern stick with framed prints and acrylic encapulated prints.

Look for articles to come on choosing glazing, framing and mountings.