Professional Photography

[#1]

By Marc Aguilera

There has been a bit of a buzz lately over the ability to direct print photographs onto rigid metal sheets. In the “direct print” process, the metal sheet is placed on a flatbed inkjet printer that uses inks that are specifically formulated to harden (“cure”) when exposed to the ultraviolet (UV) light source onboard the printer. No lamination or protective glass or acrylic is needed, because the UV-cured inks are very resistant to abrasion, water, or fading. Photo and art prints on metal can even be displayed outdoors.

HP and other companies have been selling UV-curable-ink printers to producers of signs and graphics for years. But until recently, the resolution of UV-curable printers has not satisfied the demands of image-conscious photographers. That attitude is starting to change with the launch of printers such as the HP Scitex FB500. Newer model UV-curable printers produce noticeably better print quality and are compact enough for use in the types of smaller print shops and imaging labs that are accustomed to working with photographers and artists. 

As a result, more photographers are experimenting to see how direct-print flatbed technology could enhance the appeal of their images. I have already seen some interesting work imaged to metal and I am starting to see it more and more.

Perhaps this is just a fad and in a year or so these images on metal will look like old technology. But I don’t think so.

Many photographers have always had a thing for the look of silver, and I am no exception. Silver can be shiny or matte, yet still possess a luminous quality. I also think that as photographers turn digital images into art, they will also want new and visually interesting substrates. Direct printing to rigid substrates eliminates the need for mounting while creating an art object that immediately feels more substantial than artwork printed on canvas or paper.  

The process for a photographer is simple. Your job is to determine which image you would like printed. Then you have to find a lab equipped with a UV-curable flatbed printer. 

The Specialty Graphic Imaging Association (www.sgia.org) has a referral service that can help you find companies in your area that have the latest Direct-Print technology. We also encourage you to post an inquiry through the HP Graphic Arts Twitter feed or HP’s Facebook for Designers page. 

Most labs will give you a choice of metal substrates on which to print your photo. If they work with a variety of materials then you can do your own homework to find the best brand and surface. Personally, I like 3A Composites Dibond which comes in a variety of colors and finishes. Dibond is 3mm thick and will not bow and in my opinion is the flattest panel on the market.

One option to ask for when seeking a lab that can print onto metal is to ask if their inkjet printer can print with white ink. White ink seems odd at first but when you work with white you notice an interesting dimension to certain work given you setup the file to use the white ink where you intend to use it.

In the piece shown above, San Diego photographer and digital-imaging expert Theresa Jackson uses spot white ink as a deliberate visual element. The process is not difficult however it does involve some Channel work in Photoshop. White Ink is not absolute necessary, but in some images it can really enhance the look and feel of the artwork. Theresa blogged about it on her website Orchard View Color.

The above image shows the typical thickness of Dibond which is usually 2, 3, 4, or 6mm thickness. This panel is 4mm thick. You can also see the material between the two sheets of aluminum. That material is a comprised of polyethylene and will stay rigid and not warp or bend.

The front and back of the panel is protected with a film and branded with Dibond.

The computer-graphics rendering (above) has intense specular highlights.The closer the values are to R 255 G 255 B 255 the less ink is used, which allows for maximum show through of the metal. This can have a very interesting effect depending on the content of the image. I think it works well for this particular image.

If you have any questions about this process, I would be happy to address them or help you find print-service providers with the right equipment.

The cost is not as prohibitive as you might think, In the US, it ranges from 15 to 25 dollars per square foot. Proofing can be a difficult because the color of the metal is difficult to emulate on proofing paper. You are better off just going for it and seeing the results.

If you have any questions about the process, just leave a comment below or contact me through my twitter feed @colorcritical.

[#2]

I love how the UV-curable inks sit up high on the metal substrate. This creates a 3D textural quality unlike print on paper or canvas where the inks are somewhat absorbed into the substrate. I've always been interested in blurring the line between photograph and drawing. I'm also intrigued by the concept of photograph as a 2D object that represents a 3D space. Direct print to metal opens up so many creative posibilities.

In my blog I mentioned the moiré pattern in the printed image. I thought the print process created this pattern, but I have since determined the pattern is in my image. Most likely the pattern was created from the high amount of Camera Raw Grain filter I added to give my image texture. I'm looking forward to further explorations with this printing process and the knowledge I will gain from each new piece I create.

[#3]

I've seen a few samples of images printed on aluminum with various finishes. Personally, I did not care for the metal printing but I can see how it would work for specific types of images such as the apocalyptic scene shown above.

My question is do you have a feel for the environmental impact of printing on metal vs. paper? I know that aluminum is extremely energy intensive to produce but I'm not sure how it would compare to either coated inkjet papers and/or traditional photo prints (with the chemical development process).