Dry Mounting Digital Prints

In article ,
Robert Feinman wrote:
In article , says...
In article ,
Ryadia wrote:

Why bother with heat anyway?
My concern with dry mounting inkjet prints -- whether pigment or dye --
would be the effect of the press heat on the permanence of the inks
many years down the road. This is difficult to test for and I am
unaware of any published information on the effect of short-term
exposure to high heat on the stability of the dyes or pigments of any
mainstream ink system.


While there is no easy way to disprove your contention that dry mounting
heat may have effects in the distant future, most evidence to date with
conventional prints has shown that any problems occur at the time the
heat is applied. The high temperatures can melt the plastic coating in
the paper or alter the dyes (photographic or otherwise) in the print.
I can think of no chemical reactions which would "remember" that the
materials had been heated up in the past and then occur later.

I certainly can: all you need is a multi-stage reaction, where the heat
of the mounting press supplies sufficient activation energy to kick
off one of the early stages (which need not actually itself produce
significant color change). Alternately, it's simple enough to think
of a reaction in which some component of the paper's coating breaks down
immediately (suppose, for instance, you end up with something with lots
of free electrons) then degrades the dye or pigment over time.

I too have dry mounted conventional photographs for many years. But
the chemistry of those processes is well understood compared to the
chemistry of the many different dyes and pigments used in today's
inkjet printing, much less the diverse constituients of the paper
itself. More important, there are decades of experience with dry
mounting and silver-based photographic processes. As far as I can
tell, dry mounting inkjet prints is still a big question mark.

--
Thor Lancelot Simon
But as he knew no bad language, he had called him all the names of common
objects that he could think of, and had screamed: "You lamp! You towel! You
plate!" and so on. --Sigmund Freud

In article ,
Robert Feinman wrote:
In article , says...
In article ,
Ryadia wrote:

Why bother with heat anyway?
My concern with dry mounting inkjet prints -- whether pigment or dye --
would be the effect of the press heat on the permanence of the inks
many years down the road. This is difficult to test for and I am
unaware of any published information on the effect of short-term
exposure to high heat on the stability of the dyes or pigments of any
mainstream ink system.


While there is no easy way to disprove your contention that dry mounting
heat may have effects in the distant future, most evidence to date with
conventional prints has shown that any problems occur at the time the
heat is applied. The high temperatures can melt the plastic coating in
the paper or alter the dyes (photographic or otherwise) in the print.
I can think of no chemical reactions which would "remember" that the
materials had been heated up in the past and then occur later.

I certainly can: all you need is a multi-stage reaction, where the heat
of the mounting press supplies sufficient activation energy to kick
off one of the early stages (which need not actually itself produce
significant color change). Alternately, it's simple enough to think
of a reaction in which some component of the paper's coating breaks down
immediately (suppose, for instance, you end up with something with lots
of free electrons) then degrades the dye or pigment over time.

I too have dry mounted conventional photographs for many years. But
the chemistry of those processes is well understood compared to the
chemistry of the many different dyes and pigments used in today's
inkjet printing, much less the diverse constituients of the paper
itself. More important, there are decades of experience with dry
mounting and silver-based photographic processes. As far as I can
tell, dry mounting inkjet prints is still a big question mark.

--
Thor Lancelot Simon
But as he knew no bad language, he had called him all the names of common
objects that he could think of, and had screamed: "You lamp! You towel! You
plate!" and so on. --Sigmund Freud