Problem Out Gassing .. new print

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freakquency

freakquency

SGF, Supreme Grumble Framer
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Ok a corporate client has had some prints they did in house. Photo prints printed on a large scale Epson printer. 20x28

We framed them, drymounted onto a/f foamcore with an 8-ply Artique 'digital white' 5" mat.

these pieces are hung in a museum type location... climate controlled etc. What has happened is that a shadowed out-gassing has appeared outlining the portraits. Right where the spotlights hit the face. I'm sure it has something to the close proximity of the harsh light.

How to prevent this? Lower the bulb wattage?
Having trouble cleaning it off the museum glass. Any suggestions?

They gave us new prints to replace the previous ones. This job was only done a few months ago so it's not been long.

comments would be appreciated. Thanks
 
I hope you charged for replacing the prints...
 
Shane:

Outgassing is a common issue associated with resin coated papers which is caused by the glycol in the ink evaporating and sticking on the glass. There are a number of possible fixes:

1: I have found that taking a hair dryer on low to medium heat and passing it back and forth acrosss the print for 10-15 minutes excellerates the drying process.

2: The print may be laminated to seal it

3: Some have reported success in sealing the print with various sprays such as PrintGuard.

HTH
 
Ken has suggested that maybe the ink was not dry when you framed them. I remember reading somewhere that certain inkjet inks may take up to a week to dry. So, this time be sure the inks are dry.

I have removed ghosting on Museum Glass by flooding the surface with Premium Clean (Tru0Vue) or Ultra Lite (Frame Specialties),
mopping briskly with a microfiber cloth, then buffing with a dry microfiber cloth.
 
Happened to a print of mine a month or two ago . . .

Took a dig pic of Uluru (Ayers Rock) while up there last Sept, had one of my framer clients print it with Epson archival inks and frame it . . . under plain glass due to the longevity of the ink, and home office with nil reflections issue.

Had it ready to hang at home, wrapped in brown kraft for over a month.
Unwrapped to finally display, and thought the glass wasn't cleaned properly, looked like hand cleaning streaks inside the glazing.
Closer inspection revealed it was outgassing, just where the red rock in the sunset was, a perfect impression.

I pulled it apart, kept glass to show framer out of interest, and reglazed with some Guardian UV . . . thought it best to use this to mitigate further issues by at least keeping out the UVa.

I mentioned this to my framer by phone first up, so he was aware of the problem, thought it may have needed more drying time ?
He said Epson advise it needs only 24 hours or so to fully dry, he gave it a few days.

He did say that there can be problems with a batch of ink, say the red isn't quite right it can break down and cause such issues.

Eventually got the outgassed glass back to him, and bless his heart, he'd reprinted the piece (new inks), rematted, and foamcore backed ready to reframe, just in case it was a bad ink batch.

So far the original print is fine (several months of hanging in room lit by fluro UV), no more outgassing, but have the spare in reserve.
 
A while back, I framed a large format photo that the customer had printed a few days earlier. Finished it the end of one day and the next morning took a look at it before calling the customer and saw that it had that hazy shadow on it.

This was just from overnight with the frame standing on the floor facing the wall, so no light, either.

It had to have been the print itself outgassing.

I would maybe use the old prints rather than the new ones. They have finished drying (or whatever) and have already done their outgassing. Just my opinion.
 
I let my prints air dry 7 days in a dry environment before framing (no blotter paper). We've got samples under flourescents, spots and incandescents - no outgassing is visible and they've been on display upwards of a year for some pieces. We use an Epson 7800, Epson ink, Red River or Epson paper and Breathing Color canvas media. We only coat the canvas - paper goes uncoated but some photographers coat their paper prints, too.

One issue may be dry time compunded by too much ink. Many printers set the print driver incorrectly and lay down too much which would increase the drying time. Mismatched papers and inks may also create drying problems. Just a hunch
 
If you just use reflection control glass, the off-gassing will be less noticeable...and then try to convince the printer to learn about and respect the need for proper drying times!
 
Would it be the printer's fault if it wasn't they that wanted to slap it in a frame at the earliest possible moment?
 
So, with art that has the potential to offgass, if it were framed with
a backing such as Tyvek, would that have any effect on whether it
did it even more?

Gads that was a long sentence.
 
I have seen prints on RC paper outgas far longer than what Epson or other mfgs. have stated. I have pretty much started printing on premium matte papers or canvas and do not have the problem anymore, when a customer insists on a RC paper I cover with a sheet of plain white paper for a few days and then try to have it in an open space where it can breathe for a few weeks. Very dark inks are more prone to outgas (probably due to the heavier coating of ink)

Changing to a new print just restarts the problem. Many people think dry-mounting speeds up the evaporation of the Glycol but I've seen dry-mounted prints outgas.
 
I got tired of all the inkjet issues and have gone back to real photo paper with great results. My digital prints are done on Kodak Professional paper exposed in an LED Lightjet machine and developed in conventional chemistry. Great prints at a much lower cost. And framed without problems to 120" x 60".
 
Bandsaw, do you mount your photos when they're that big,
and if so, on what? If you don't mount them, do you frame
them with or without mats? How do you keep the photos from
getting flopsy?
 
My big prints are mounted by the photolab. They use an 86" wide cold roller press for mounting and laminating. They offer mounting on Sintra, Gaterboard, or aluminium - most customers choose Gaterboard for price - the aluminium is best but expensive. No mats or glass for prints over 30 x 40. Frames to suit the display space - sometimes big formal woods but sometimes even 48 x 120 in 11 profile aluminium for a minimalist look to protect the edges and provide for hanging. I can get away with 119.5 inches in a 10 foot stick of aluminium if I just trim the ends to 45 degrees. Every job is different.
 
Wow. :faintthud:

That's pretty amazing.
Big stuff there, my friend.
 
I've always liked BIG pictures, particularly when they are my own photos. In the days of film with my Hasselblad on a job I would shoot 10 rolls (120 images) and have them all proofed 10" x 10". Then lay them out on the floor for viewing. It was impressive to the client and they would order much larger prints. But now I only do photography for my own fun - and I sell far more and bigger prints.
 
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