DIN A2 prints for long-term archival of photographs

Data format: DIN A2 (594x420mm) or smaller, 600dpi max., RGB, CMYK or LAB, with job ticket. Delivered final format: approx. 605x435mm

For your valuable images and documents, we offer an analogue archival solution as a printed photograph, which is suitable for long-term archiving and, with dry and dark storage, offers archivability of more than 200 years without any noticeable colour change. The photos are then placed with unbuffered cotton interleaving papers in acid-free and lightproof cardboard photo boxes to provide optimal long-term storage conditions.

 

Our long-term archivable photo prints are characterised by the following features:

• We print your photo at the highest possible resolution directly from your RGB colour space. You do not need to convert your images into special ICC profiles.
• We print on the printing system with the most precise colour reproduction of the entire printer market
• We print with the latest and most long-term stable Epson HDX colour pigments
• We print on Hahnemühle Photo Rag Pearl made of cotton, which offers enormous storage capacity
• Each print is marked in a status line below the image with filename, ICC profiles used, print date, rendering intent, printer, substrate, pigment inks and much more
• The prints are equipped with 18gr/sqm unbuffered cotton interleaving layers to prevent scuffing and scratching
• The prints are delivered on request in special archive boxes that are optimal for long-term archiving
• Print papers, interleaving papers and archive boxes are certified and designed for long-term archiving.

 

Detailed information on the materials used and their suitability for long-term archiving

Photo printer: EPSON SureColor 9000V Spectro

• The SureColor SC-P9000V is the printer with the most accurate colour reproduction of the entire printer market¹
• Epson TFP PrecisionCore print head and pigment inks with orange, green and violet as additional colours
• We print at the highest possible resolution of the printer
• We print directly from your RGB colour space to reproduce as much of your photographed colour gamut as possible
• Printer and measurement technology were delivered on 23.12.2015 and put into operation in early 2016

 

Pigment ink: EPSON HDX colours

• We print with 11 different pigment inks

• With the help of violet, UltraChrome HDX ink can create a large palette of vibrant colours as well as deep, rich black tones and dense shadow areas
• The new Photo Black ink has up to 1.5 times higher pigment concentration compared to previous inks, which provides deeper black tones.
• UltraChrome HDX inks developed for long service life. In particular, the weaknesses of the earlier HDR inks were eliminated in the yellow range. Mark McCormick-Goodhart, Director of Aardenburg Imaging and Archives writes: "Yellow was by far the weakest link [for long-term stability of the pigments]. The new HDX ink set remedies this weakness[...].
• Henry Wilhelm from Wilhelm Imaging Research writes about the new HDX inks: "The data measured so far shows that - depending on the paper used - the new inks offer long-term stability of up to 200 years for colour prints, and probably over 400 years for black and white prints. [...]“The larger Dmax, the larger colour gamut and the reduced metamerism from the new Epson UltraChrome HDX pigments represent a major advance in visual brilliance for both colour and black and white images. [...] The generally improved performance of the prints is a significant contribution to photography."

 

Substrate: Hahnemühle Photo Rag Pearl

• We spent a long time searching for a paper that was able to provide the same long-term qualities as our HDX inks. We deliberately chose a non-resin-coated paper. It is also important that our Hahnemühle paper contains no optical brighteners, which are critical for long-term stability for various reasons.
• We also chose the paper because the certification experts have extensive experience with it.
• The paper is certified by Digigraphie, just like our Epson printer
• The natural white paper with a basis weight of 320 gr/sqm consists of 100% cotton, is free of optical brighteners and is reminiscent of a warm-toned barium paper. With the large colour gamut and high colour density, extraordinary colour and black/white nuances are achieved and three-dimensionality is reached.
• Wilhelm Imaging Research certifies the paper with the "old" Epson inks to have colour stability of over 200 years when stored in the dark.

 

Interleaving: Silk paper without alkaline buffer made of cotton

• Between each photo sheet, a silk paper without alkaline buffer made of 100% cotton with a weight of 17-18 gr/sqm is inserted to minimise mechanical friction
• The silk paper is smooth on one side with a pH of 7.0 - acid-free and free of optical brighteners.
• The paper has passed the Photographic Activity Test (PAT) according to ISO 18916.

 

The archive box

• We supply the photo prints for an additional charge in a Hahnemühle Photo Archive Box. The archive box is writeable and can be stored optimally. Approximately 50 images with interleaving papers can be stored per archive box.
• The archive boxes are guaranteed to be acid-free and are ideal for storing prints.
• The archive boxes are age-resistant in accordance with DIN 6738, ISO 9706 and ISO 16245

 

Why we chose these materials

When we started dealing with the topic of long-term archiving of photographs, we researched various websites and sought advice from different experts.
One of the best-known sources is certainly Wilhelm Imaging Research, which provides an impressive amount of information on the topic of long-term durability of specific printer/ink/paper combinations. Wilhelm Imaging Research certainly pioneered the field and was an important source for us. However, their proximity to the printer and paper industries, which funded Wilhelm's studies, prompted us to seek additional sources. For example, many sources indicated that paper-ink combinations confirmed by Wilhelm Imaging as extremely durable developed cracks within just a few years. In addition, the consideration of climatic influences such as ozone on prints was probably only taken into account very late by Wilhelm Imaging. For these reasons, we consulted further experts.
An excellent consultant was Mark McCormick-Goodhart, head and founder of Aardenburg Imaging and Archives - a company active in the field of assessment of materials for the creation and conservation of images. Aardenberg Imaging is divided into four areas: photography, printing, research and archiving – the perfect match for our long-term archiving mission.
Mark MacCormick-Goodhart contributed many insights and ideas to our endeavour. His approach to measuring megalux hours as a measurement point for long-term stability and his idea of i-Metric for assessing the loss of quality through colour change when viewing images are absolutely noteworthy. Based on his findings and the results of the Aardenburg Light Fade Test Results Database and based on his assessment of our project with regard to substrates, printers and inks, we decided on the Hahnemühle Photo Rag Pearl.
Regarding storage for archiving, we contacted Dr. Philipp Stolper from the Materials & Environmental Protection Department of Fogra Research Institute Printing e.V. based on recommendations. I contacted him, among other things, about the suitability of Hahnemühle / Tecco / Sihl papers, which are partly certified by Fogra according to ISO 9706 ("Information and documentation - Paper for documents - Requirements for permanence"). However, with regard to this standard, he wrote to us: "In this test, kappa number (indicator of lignin content), alkaline reserve (measure of substances that can neutralise acids formed during ageing), pH value in aqueous solution (is the paper generally acidic?) as well as the tear resistance after Elmendorf (mechanical stability) are determined. This standard aims primarily to ensure that the paper does not release acids or oxidise and thus cause additional damage to the printing ink. This standard does NOT address the relationship between paper and printing ink, nor does it look at the change in printing ink."
Our initial idea was to place the prints in polyethylene sleeves, as recommended by Epson for archiving. However, Dr Stolper had a clear recommendation: "Regarding the polyethylene sleeve, I don't know if that couldn't even be counterproductive if moisture accumulates here and microbiology also strikes." Admittedly, that was understandable, especially since McCormick-Goodhart struck the same note: "A high quality PE wrapper won't necessarily harm anything, but probably is unnecessary unless you expect high levels of physical print handling on a routine basis." We subsequently discontinued the polyethylene sleeve.

 

Why is long-term archiving of photographs important?

Today, almost all photographs are taken digitally. Digital images are inexpensive, high-resolution, good in colour and excellent for retouching. But can we be sure that these images will still be viewable in many years? That they can still be viewed? That the colours still look the same as at the time of capture?
We are talking about two classic problems here:

1. Problem: Risk of total loss of storage media

• Hard drives can fail or produce read errors
• CDs and DVDs can corrode and scratch
• Flash memory and SSDs cannot be rewritten indefinitely; failure of the electronics leads to total loss.
• Due to their small size, these media can easily be forgotten or accidentally discarded.
• Accidental dropping, water etc. can cause media failure.
• The cloud also offers no safe solution: what if the provider becomes insolvent? Who guarantees the data? Will Strato and Amazon still exist in 50 years?
• Can you manage to permanently migrate your data to new storage media and back it up multiple times?
• Colour microfilm would be a solution, but is hardly used anymore, and back printing is time-consuming and requires special reading devices and printers.

 

2. Problem: Readability of data formats and colour spaces

• Can data formats such as JPG, TIF and PSD still be read in decades?
• Can colour spaces such as ECI-RGB V2 or AdobeRGB still be interpreted and the original colour still be viewed?
• Can you manage the permanent migration effort to new data formats?

 

Besides long-term archiving as a print, there are currently hardly any alternatives. "A physical print is the only viable way at this point in time to ensure that future audiences will see the aesthetics of the image the way the photographer wanted them portrayed. The print is where the photographer is able to instill and ensure his or her own aesthetic values in their image craft. At this time, enduring, nothing less than a print, a tactile, physical object, very often hand signed by the artist, achieves this goal." Mark McCormick-Goodhart