Richard Frederick
Senior Member
I have been printing on two Mitsubishi Pictorico materials, one with a white base and one with a transparent base. The white based product is much like other paper, except that the surface is of high gloss and therefore extremely reflective. This means that the print must lie flat and that the illumination must be strictly controlled, otherwise the viewing experience will be spoiled by surface reflectance. If displayed properly, the Pictorico product has an outstanding dynamic range.
I have tried to mount the white based version as both surface mount and back mount on acrylic sheet. With my equipment and skill level, small prints mount well, but large prints, say 16" X 24," always have some sort of surface blemish, such as bubbles. On a high gloss surface of a reflective print, any surface blemish is immediately noticeable and spoils the print.
I have also mounted the Pictorico transparent material on acrylic. While the mounting results are no better - surface bubbles, etc. - a backlit imaage does not emphasize surface imperfections that would ruin a reflective print. In fact those imperfections are largely invisible.
How to provide the backlight? Two ways that I know of: place the mounted print in a window for home daytime viewing, or place the sheet in a purpose-built backlit frame.
There are several problems with this. Other members of the household may think that windows are for looking through and admitting light, rather than for backlighting prints. Fools! Finding back lighted frames is chancy. They are somewhat expensive, but not too bad if compare to the cost of professional framing. They are somewhat heavy. Also, the ones I have found are designed for backlighting normal, paper prints with a white backing. This provides two challenges for mounting transparencies. First, the frame product is made with the diffusing power in mind, so additional diffusers may have to be provided by the user. Likewise, the light intensity is probably set to power through the white prinnt backing, making the light too bright for transparencies. Again, the user may have to reduce this intensity.
The good news is that if a acrylic print with interesting colors is mounted on a frosted acrylic sheet and placed in a suitable window, I find the result to be very pleasing. As the sunlight changes throughout the day, a good sunset image will emphasize different colors and density during this time. In my opinion, it is a good viewing experience.
If I were Mitsubitshi, I would see to it that appropriate backlighted frames were available for their Pictorico materials. They might sell a lot more product that way.
If anyone has ideas or experience here, I welcome your inpuut.
I have tried to mount the white based version as both surface mount and back mount on acrylic sheet. With my equipment and skill level, small prints mount well, but large prints, say 16" X 24," always have some sort of surface blemish, such as bubbles. On a high gloss surface of a reflective print, any surface blemish is immediately noticeable and spoils the print.
I have also mounted the Pictorico transparent material on acrylic. While the mounting results are no better - surface bubbles, etc. - a backlit imaage does not emphasize surface imperfections that would ruin a reflective print. In fact those imperfections are largely invisible.
How to provide the backlight? Two ways that I know of: place the mounted print in a window for home daytime viewing, or place the sheet in a purpose-built backlit frame.
There are several problems with this. Other members of the household may think that windows are for looking through and admitting light, rather than for backlighting prints. Fools! Finding back lighted frames is chancy. They are somewhat expensive, but not too bad if compare to the cost of professional framing. They are somewhat heavy. Also, the ones I have found are designed for backlighting normal, paper prints with a white backing. This provides two challenges for mounting transparencies. First, the frame product is made with the diffusing power in mind, so additional diffusers may have to be provided by the user. Likewise, the light intensity is probably set to power through the white prinnt backing, making the light too bright for transparencies. Again, the user may have to reduce this intensity.
The good news is that if a acrylic print with interesting colors is mounted on a frosted acrylic sheet and placed in a suitable window, I find the result to be very pleasing. As the sunlight changes throughout the day, a good sunset image will emphasize different colors and density during this time. In my opinion, it is a good viewing experience.
If I were Mitsubitshi, I would see to it that appropriate backlighted frames were available for their Pictorico materials. They might sell a lot more product that way.
If anyone has ideas or experience here, I welcome your inpuut.
