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  1. #11
    Donald Qualls's Avatar
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    FWIW, the anodize on aluminum can be any color at all. Or, more correctly, the anodize coating itself (which is simply a very thick, relatively speaking, induced oxide coat similar to what forms naturally to make aluminum corrosion resistant) is colorless, but at one point in the process is porous and can be made to take up any dye desired, before the pores are sealed over. I've seen anodize that was bright red, bright yellow, bright green, dead black, and a number of sublter shades, as well as clear or very nearly clear.

    Anodize really amounts to mounting your print on sapphire -- but be aware what the dye that colors an anodize coating might do relative to archival standards; not only can the dye in anodize fade with light exposure (like any dye), there's a question in my mind of what the dye decomposition products might do to your print. If no dye is used, this won't be an issue (and the acid from the anodize is washed out in the finishing process), but then you'll have a surface that looks like aluminum or like aluminum with a translucent white coating.

    I've also seen examples of people applying a silver halide sensitizer to porous anodize, exposing, developing, fixing, washing, and then sealing the anodize to trap the image within the aluminum oxide coating. Now *there's* an archival substrate...
    Photography has always fascinated me -- as a child, simply for the magic of capturing an image onto glossy paper with a little box, but as an adult because of the unique juxtaposition of science and art -- the physics of optics, the mechanics of the camera, the chemistry of film and developer, alongside the art in seeing, composing, exposing, processing and printing.

  2. #12

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    Bruno Zehnder

    Thirty years ago, this Swiss photographer, (since deceased-in an Antartica blizzard) mounted an entire Antartica exhibit, called South for the Summer in the Nikon Gallery in Tokyo. Since then I haven't seen aluminum used, but his was done exactly as described in this thread. It is particularly appealing for cold tone shots such as winter scenes.

  3. #13
    Bob Carnie's Avatar
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    I have bought a large piece of aluminum and am going to mount a fibre print using a hot press and tissue. I think it will work and I will post here my thoughts in a week .

  4. #14

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    Curious.... How much was the sheet metal? How big was it?

  5. #15
    Bob Carnie's Avatar
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    Big head
    the metal was 40dollars canadian, approx 32x40 inches in size. There is a metal guy in my building and I got it from him so I do not know if this is a good price or not. I just want to finally see if I can hot mount to this material as I think it would be good for shows.

    By the way, If you are ever in toronto give me a call , I am starting a project of portraits based on people with enormous heads , hopefully you would pose for me.

  6. #16

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    I'm mounting sheets of Fabriano onto aluminum to ensure stability, for three-colour gum printing. The product I use is Fusion 4000, which is made by Seal and is a semi-translucent 'plastic'. It's completely archival and removable. You just place the finished print back into the dry mount press at a slightly higher temperature and slowly peel the print away from the aluminum. It's available through University Products. www.universityproducts.com
    Keith Taylor
    Platinum, Photogravure and Historic Process Editions
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    2011 Minnesota Center for Book Arts/Jerome Foundation Mentorship Program recipient

  7. #17
    Bob Carnie's Avatar
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    Hi Keith
    Good to know it works with a hot press, where are you sourcing the aluminum and how do you handle different sizes? I see this as problematic cutting the metal to variouw sizes.
    I can get the fusion 4000 as well and am glad to know it works as it is reversable as you say.

  8. #18
    Bob Carnie's Avatar
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    Hi Keith
    Another question, what do you use to prep the aluminum for hot mounting?

  9. #19

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    Bob,
    I buy 30" x 20" sheets at the local hardware store and cut them down as needed. Using a regular utility knife and straight edge, I score the metal several times and then flex it back and forth until it breaks. Then I smooth the edges and round the corners with a file, otherwise they dig into the rubber base of my vacuum frame, but that's it. No other preparation required.

    I reuse these sheets many times, so their finish isn't that important to me - they don't need perfectly straight edges for instance, as I cut them bigger than the paper size. If the aluminum is to become part of the piece itself, then you may want to consider an alternative method.
    Keith Taylor
    Platinum, Photogravure and Historic Process Editions
    Website | Weblog | Google+ | Facebook
    2011 Minnesota Center for Book Arts/Jerome Foundation Mentorship Program recipient

  10. #20
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    Keith,

    Do you leave the finished prints mounted to the aluminum, or do you remove them when they're done? I'm sorry I'm not going to make it to APIS this year. I would love to see your presentation.

    Kerik
    www.kerik.com

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