How To Improve The Archival Qualities of a C-Print?

[LFLarry]

Hi, I am hopeful the group here can help me identify some options for improving the archival attributes of RA-4 C-prints.

We have fiber paper and toners for black and white silver gelatin prints (e.g., sepia, selenium, etc.).

What options do we have for RA-4 chromogenic prints?

I am using Fuji Crystal Archive Type II paper.

About the only option that I can think of is Sistan, but not sure that applies to the RC types of papers or not? (https://www.bhphotovideo.com/c/produ..._ii_500ml.html)

Thank you

[Larry Gebhardt]

Sistan protects the silver in a print. The silver in a chromogenic print has been removed and only dyes remain. The main guidance I’ve seen is for storing prints in the dark at relatively low humidity, and of course properly washing them as part of processing.

[ic-racer]

ISO 18920 Imaging materials—Processed photo- graphic reflection prints—Storage practices (Geneva: International Organization for Standardization), 2000.

[LFLarry]

Hi, you are absolutely correct.... I wasn't quite awake when I wrote my question apparently! Thank you.

Sistan protects the silver in a print. The silver in a chromogenic print has been removed and only dyes remain. The main guidance I’ve seen is for storing prints in the dark at relatively low humidity, and of course properly washing them as part of processing.

[LFLarry]

This is very interesting. Thank you for sharing this.

It appears that washing and cool storage conditions with proper RH is museum/curator guidance, etc.

For ordinary people and photographers that want to display their c prints, any idea where to find information about life expectancy under these normal use conditions?

[Drew Wiley]

Other than proper mounting, display, and storage methods ... NO. These papers themselves have significantly improved in display permanence characteristics in recent decades, especially the Fuji Crystal Archive line, though not even all of that selection is created equal. It is also dependent upon correct processing. Due to the almost endless potential variables in all the above, it is very pretentious to offer any kind of longevity warrantly. Mfg published estimates are to be taken in a relative sense at best. Gallery and lab claims about so many decades or whatever should always be held in suspicion. It all depends - always. Don't believe any of that talk about inkjet prints lasting 200 years either, unless you know someone who already owns a 200 year old inkjet print!

I won't live long enough to give an assessment relative to my own chromogenic work and how it's been displayed and stored. But out of curiosity, I did allow a quantity a my own big framed Fuji Super-C prints to be displayed in an architecturally stunning law office complex until that was sold - 15 years of definitely less than ideal lighting for 18 hrs a day - relatively high-UV lamps, plus overhead skylight UV during daytime hours. I slightly overprinted them for sake or a bit of inevitable fading; and now, after those 15 yrs, they look just about ideal, and should do even better now under far less UV, so an overall life before annoying fading of perhaps 30-35 yrs. So that's pretty damn good relative to those abusive lighting conditions, and pretty much in line with Fuji's general estimate at the time of around 70 yrs under reasonably controlled, versus abusive, display conditions.

But the top-end Fuji "papers" like my favorite, Fujiflex (not an RC paper at all, but polyester sheet base), should do even better; and as usual, Fuji cryptically hints at that, but isn't so stupid as to make any ironclad guarantees. Likewise, their alleged premium newer RC paper, Maxima, seems to be a very similar improved emulsion, but on RC paper base. Besides better dyes, another important feature with these two products is better resistance to base yellowing over time, which with older papers by both Kodak and Fuji was often a worse issue than the fading itself.

LF Larry - note that those specs apply (or did apply) to ideal print storage -i.e., literally hermetically sealed and frozen if possible! But common sense display circumstances need to minimize strong diurnal day to night temp swings, overall hot temps, and especially pay attention to the types of display lighting involved. Modern CFL bulbs, most overhead fluorescents, low-voltage track lighting and other halogen bulbs, are all very high in damaging UV, as is obviously direct sunlight. Premium bulb supply houses can offer hard specs about all this; but of course, all of that applies to high quality bulbs which cost more. Don't expect a grain of truth to be on the package of a cheap bulb in any big box outlet. You get what you pay for.

Prints need to be properly washed. I do drum processing and wash them 3 times longer than specified for automated processors, along with multiple water changes. Some speedy processing facilities don't wash em at all, and just "stablize" em, or do it via recycled contaminated water.

[ic-racer]

This is very interesting. Thank you for sharing this.

It appears that washing and cool storage conditions with proper RH is museum/curator guidance, etc.

For ordinary people and photographers that want to display their c prints, any idea where to find information about life expectancy under these normal use conditions?

The Permanence and Care of Color Photographs--Henry Wilhelm, Preservation Publishing Company, Grinnell, Iowa.

[Drew Wiley]

So so much of that Wilhelm book predates many of these chromogenic print improvements, along with significant changes in typical display lighting (not necessarily for the better). But the general storage guidelines are still relevant if you happen to be a museum conservator with adequate facilities, which most folks can't afford to be. So avoid hanging prints on poorly insulated perimeter walls,
or in offices where it's too warm during the day, and too cold at night. If you happen to live in Hawaii, relocate uphill in the cooler coffee zone; if you live in Florida ... well ...

I've actually hermetically sealed certain pictures for long-term high humidity display conditions, pretty much a thousand dollar up-charge to the entire framing job, plus the price of the print itself. Had my own proprietary method; the handful of others who offered an analogous service charged even more, way more. I can understand the Declaration of Independence being displayed hermetically in its own version of a transparent-topped lead-soldered coffin, but just another danged picture that might get switched out once the color of the sofa itself fades?

[xkaes]

Drew beat me to the punch -- those instructions are for storage of unexposed paper -- but they should work equally well if you don't mind your prints being in a freezer for eternity.

Similar to Drew, I have some old prints that have hung in horrible places for years and still look fine. Whatever those dyes are seem to be pretty stable.

[Oren Grad]

The Permanence and Care of Color Photographs--Henry Wilhelm, Preservation Publishing Company, Grinnell, Iowa.

Wilhelm has made the book available as a free download:

http://www.wilhelm-research.com/book_toc.html

The specific materials for which test results are presented in Wilhelm's book are long gone, but the general discussion remains very informative, especially valuable for those who are new to the topic.