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  1. #41
    lxdude's Avatar
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    You're in Texas. Shouldn't you be using dixonite?
    I do use a digital device in my photographic pursuits when necessary.
    When someone rags on me for using film, I use a middle digit, upraised.

  2. #42
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    Quote Originally Posted by nsurit View Post
    As I was the one who stated this thread I'll post a couple of images of my nearly completed mounted print. Frame build of 1X4 lumber. Masonite top. Sides painted black. Golden gloss gel cut with water. 80% gel/20% water. Brushed heavily on the masonite. Print applied to masonite. Rolled with paper protecting the print to even gel. Weighted down overnight. Edges trimmed. I still need to run a black marker around the edges to get rid of the white line from the paper trim. Image is six consecutive frames of 35mm to give context to 18 other images about this person.Attachment 85160
    Looks pretty good, I'd say. Great idea!

  3. #43

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    It's not uncommon in the world of both photography and photolithography for clients to pay far more for the framing than the print is worth,
    if the intended application is decor. Presentation can be important. Without mentioning any names, I can think of some disgustingly kitchy
    nature photographers who basically just make giant Photoshopped postcards, but present them in a marketable manner (at least according to
    the taste - or lack of it) of their target clientele. These giant color images are of course going to be displayed under big windows or banks of
    UV-intense lighting, so will probably start visibly fading within a decade. But the people who buy this kind of thing don't care. They'll just throw the thing out, even if it cost thirty thousand bucks, and put up something else to match the new furniture. So lack of "archival" considerations is certainly not something restricted to temporary or inexpensive framing techniques.

  4. #44

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    Uh, if you coat masonite w/ acrylic gesso it will last decades. Seen it w/ my own eyes. I'm an artist and deal w/ archival issues every day. There are oil paintings made on plain old wood that are over a hundred years old. Everything has to be shown and stored in an archival manner. of course. Painters have been painting on masonite as long as it was invented. You cannot paint or mount directly to it. I have seen paintings on properly sealed cardboard that are over 50 years old.

    The problem w/ gluing a photograph to something is that it will not be allowed into a museum context. They require that the work be able to be removed from whatever it is mounted on in a manner that will not damage the piece. I doubt my work will end up in MOMA, so I will sometimes go this route, but be warned that many big galleries follow the same protocols.

    I used to share a New Mexico studio w/ another artist. She was sued by a buyer that bought her work when she used inferior techniques and the piece began to fall apart years later. if it is "art" it has to exhibit the qualities of art, and relative permanency is crucial, unless you are up front in the beginning and furnish a signed statement to the buyer indicating such.
    Last edited by momus; 03-27-2014 at 11:03 AM. Click to view previous post history.

  5. #45

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    You're confusing "archival" standards for certain painting media with photographic standards. Whole different ballgame. Completely different. But even if it was the same, what makes you think art store "gesso" does not itself contain any adulterant harmful to the image?

  6. #46

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    Quote Originally Posted by nsurit View Post
    As I was the one who stated this thread I'll post a couple of images of my nearly completed mounted print. Frame build of 1X4 lumber. Masonite top. Sides painted black. Golden gloss gel cut with water. 80% gel/20% water. Brushed heavily on the masonite. Print applied to masonite. Rolled with paper protecting the print to even gel. Weighted down overnight. Edges trimmed. I still need to run a black marker around the edges to get rid of the white line from the paper trim. Image is six consecutive frames of 35mm to give context to 18 other images about this person.Attachment 85160
    thanks for posting this !
    that's impressive, and must be something-else
    in person ..

    john

  7. #47
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    Thank you for your kind words. The exhibit is of three individuals I have known for some time. Each, in their own way is a collector as am I. Some might say hoarders. Each of the three is printed in a different alternative process. The three used are cyanotype, kallitype and ziatype. These long pieces are used to give context to the person and their stuff. I'm not complete with the printing however expect to have about 50 images in 20 X 24 frames in addition to the three context pieces. Although I had no intention of making these three as archival prints, I imagine with the gloss gel between the masonite and the image, they should last for some time. They also were not made to be sold. I began this thread looking for answers and have included the answers of "How to do it" should anyone else decide to undertake this relatively easy project. Pretty sure I may do this again in the future. Bill Barber

  8. #48

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    I was looking into masonite and a friend of mine has forwarded this solution he saw at a gallery in NYC (sintra on masonite). Printed and mounted by Laumont. He said it looked great. Laumont have confirmed it was their job. But generally it looks like mounting shops avoid masonite for some reason.


    Click image for larger version. 

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    Last edited by dvornik; 06-19-2014 at 02:44 AM. Click to view previous post history.

  9. #49

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    If the term "archival" happens to come up, masonite is a big no-no.

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