Tonight I ordered a sample pack of metal prints and hopefully one 'keeper' from Bay Photo. A test of the product. All intense color, but I will soon test in B&W.
The metal surface and effect seems great for some images.
I'm not sure how, '...infusing dyes directly into specially coated aluminum sheets' in 5 different surfaces.
I have seen outside metal prints that were holding up well despite Chicago weather and knife welding vandals.
Any opinions on this type print?
Tin Can
Randy,
I have seen hundreds of metal prints at the various art fairs that I do. They run from "very well done" to "what were they thinking!" I think it is an interesting process and if done right with the right image, can be very effective. I have had one done as a sample, and it turned out nicely. The company that I use, Duraplaq, states that while not a lot of testing has been done yet on longevity, anecdotal evidence "suggests" that they should last a long time. The process has to with dye sublimation where the image is lifted off of the paper surface and infused into the metal. Personally, I just think it is magic!
According to the photographers that are selling the metal prints, they are selling very well.
A few years ago, I ran into an oil painter who was using this process to reproduce his vibrant oil originals. They looked quite good in terms of matching his vibrant oils. He actually had purchased his own printer and equipment to produce his own metal prints. I think he could go up to 24 or 30 inches.
Hope your pieces turn out to your satisfaction. Let us know.
Just as with any process, when done well and the right image they look good.
My Uncle curated a gallery show that had some in it. One 'popped' right off the wall in the gallery lighting. It was brilliant and well done and showed well as it almost 'glowed' in the museum lighting. The others were well done and looked good but the combination of colors and subject matter made the first of them really jump out.
Match the process with the image and it will look good.
We can only hope the excellent images last.
I haven't tried it yet either and have seen plenty that range from awesome to garish.
For B&W I'd wonder if it might appear to be some sort of digital descendant of a tintype, particularly if you use a swirly lens. Just another process to explore in my mind.
For color, it'd depend on the scene whether it'd be appropriate. I'd suggest it for abstract and altered color and perhaps not for postcard scenery. But that's my taste and it's not widely shared.
I have not processed any, doubtful I could. Out of curiosity, I did order one from a company using one of my favorite lightning shots form digital. It came pretty nice. The inner cloud subtle light bounces right out but the highlights where the bolt comes out is a tad blown out. I am not sure if it is a limitation of the process or a developing error.
Regards
Marty
I can't post the image I am testing here, but I can link to it in small format. I figure it is a good candidate.
Printing at 12X12. I removed in PS the tree tops at bottom. I added a tiny black border to see how good they they can reproduce the exact image. That's a jet plane upper right.
http://www.largeformatphotography.in...=1#post1286430
Tin Can
Dye stability is better than dye transfer and not as good as inkjet print. Test of metal print near end of article.
nsfw
https://danielteolijr.wordpress.com/tag/metal-print/
Thanks for the tech. I have 'copied and corrected' many color prints, most for Internet usage, and it is amazing how much we can improve the past.
Camera shake can now be fixed and those torn B&W family prints come back from the dead. I always save the original.
I just want to compare my image on metal to metallic paper and plain ol Fuji Crystal. No fun looking at OP's! (other people's)
Tin Can
My 2 cents... Ugly - for commercial applications only.
Reminds me of mall window venues. And if you've seen one shopping mall, you've seen em all. Call me prejudiced; but not a medium that appeals to me.
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