Matting Ink Prints

**Kirk Gittings** · 17-Aug-2006, 20:08

The recent thread on bright white papers reminded me about something I wanted to share.

Perception of dynamic range in a b&w print is something that is greatly affected by presentation and viewing conditions. For ink prints I prefer the mat Crane Museo Max paper which has a good D-max but an off-white base. When you view the print unmatted it looks great but I found my usual matting technique (bright white board) greyed out how I perceive the highlghts and lowered the apparent dynamic range. I believe this is because the mat was a brighter white than the paper base. Once I went to a mat with a touch of grey in it to bring it down a hair darker than the print paper base the dynamic range of the print lit up again. I went back to some PP and Van Dykes that I had printed a few years ago on mat papers and found a similar effect. However if you go to dark this subtle boosting of the high values is lost.

**Michael Gordon** · 17-Aug-2006, 21:14

Interesting, Kirk. Thanks.

**evan clarke** · 18-Aug-2006, 05:56

I am printing on Crane Silver rag and float mounting on ivory museum board with a Seal 210 and regular colormount tissue. They really sparkle...EC

**paulr** · 18-Aug-2006, 06:20

something to consider ... if you're going to frame the work, it's always a good idea check the paper/matboard under the glazing material. even non-uv rated glass and plexi block a significant amount of uv, and this has the effect of dimming the optical brighteners in bright white papers.

i print mostly on photorag, and mat the work in 'museum white' board from light impressions. unframed the combination doesn't look great ... the paper is much whiter than the board--it takes it a little farther than what Kirk is probably describing. but under plexi they match nicely. the paper is just a hair brighter than the board.

so to Kirk's point about dynamic range, i imagine glazing material could influence this too. few of my prints depend on blazing highlights, so i haven't noticed them getting deadened by the plexi, but it could probably happen with some prints. it can definitely change the relative brightness of paper and board.

**Jon Shiu** · 18-Aug-2006, 12:13

Should ink prints be mounted with buffered or un-buffered board?

Jon

**Kirk Gittings** · 18-Aug-2006, 16:14

According to Light Impressions, you should use un-buffered on all "color" materials. They say use buffered for all b&w materials, but they may mean just silver or PP for b&w.

I use buffered for silver prints and non-buffered for all ink prints.

**JW Dewdney** · 18-Aug-2006, 16:50

Originally Posted by Jon Shiu

Should ink prints be mounted with buffered or un-buffered board?

Jon

I suppose it depends if your ink is pigment or dye based. I think for dye-based inks - the high pH of buffered board is going to affect it's color & stability. That's supposedly the logic behind the problem with buffered board and color materials.

**paulr** · 18-Aug-2006, 22:29

Originally Posted by JW Dewdney

I suppose it depends if your ink is pigment or dye based. I think for dye-based inks - the high pH of buffered board is going to affect it's color & stability. That's supposedly the logic behind the problem with buffered board and color materials.

yeah, it's dye transfer prints that light impressions specifically recommends unbuffered board for. i haven't heard anything on the subject about inkjets. i'd guess pigment prints would be fine in buffered board; dye prints won't be fine in anything.