DIN A2 prints for long-term archiving 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 photo, which is suitable for long-term archiving and, with dry and dark storage, offers archival capability of more than 200 years without any perceptible colour change occurring. The photos are then placed with unbuffered cotton interlayer papers in acid-free and light-tight 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 from cotton, which offers enormous storage capacity
• On each print, a status line below the image notes the file name, ICC profiles used, print date, rendering intent, printer, substrate, pigment inks and much more
• The prints are equipped with 18gr/qm unbuffered cotton interlayer layers to prevent rubbing and scratching
• The prints are delivered on request in special archive boxes that are optimal for long-term archiving
• Printing papers, interlayer 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 produce a large palette of vibrant colours as well as deep, rich blacks 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 blacks.
• UltraChrome HDX inks developed for long-term durability. In particular, the weaknesses of the earlier HDR inks in the yellow range have been eliminated. Mark McCormick-Goodhart, Director of Aardenburg Imaging and Archives, writes: "Yellow was by far the weakest link [for long-term stability of pigments]. The new HDX ink set corrects this weakness[...].
• Henry Wilhelm of 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, larger colour gamut and 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 searched for a long time for a paper capable of enabling the same long-term qualities as our HDX inks. We deliberately used a non-resin coated paper. It is also important that our hahnemühle paper does not contain any optical brighteners, which for various reasons are critical for long-term stability.
• We also chose the paper because the certification experts have extensive experience with it.
• The paper is certified by our Epson printer Digigraphie
• The natural white paper with a weight of 320 gr/qm consists of 100% cotton, is free from optical brighteners and is reminiscent of a warm-toned baryta paper. With the large colour gamut and high colour density, extraordinary colour and black/white nuances are achieved and a three-dimensionality is attained.
• Wilhelm Imaging Research certifies the paper with the "old" Epson inks as having colour stability of over 200 years with dark storage.

 

Interlayer: silk paper without alkaline buffer made from cotton

• Between the individual photo sheets, a silk paper without alkaline buffer made from 100% cotton with a weight of 17-18 gr/qm is inserted to minimise mechanical friction
• The silk paper is smooth on one side with a pH of 7.0 - acid-free and without 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 writable and can be stored optimally. Approximately 50 images with interlayer papers can be stored per archive box.
• The archive boxes are guaranteed to be acid-free and ideal for storing prints.
• The archive boxes are age-resistant according to 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.
Wilhelm Imaging Research is certainly one of the best-known sources, providing an impressive amount of information on the topic of long-term durability of specific printer/ink/paper combinations. Wilhelm Imaging Research certainly did pioneering work and was an important source for us. The proximity to the printer and paper industries that fund Wilhelm's studies prompted us to look for further sources. For example, many sources state that paper-ink combinations confirmed by Wilhelm Imaging as extremely durable developed cracks within just a few years. Also, the consideration of climate influences such as ozone on the prints was probably taken into account by Wilhelm Imaging only very late. For these reasons, we consulted further experts.
An excellent advisor was Mark McCormick-Goodhart, founder and chief of Aardenburg Imaging and Archives - a company active in the field of assessing 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 project. His examination approach of megalux hours as a measurement point for long-term stability and his idea of i-Metric for assessing quality losses through colour change when viewing images are absolutely noteworthy. Based on his insights and results of the Aardenburg Light Fade Test Results Database and based on his assessment of our project with regard to substrates, printers and ink, we chose the hahnemühle Photo Rag Pearl.
Regarding storage for archiving, we contacted Dr. Philipp Stolper from the Department of Material & Environmental Protection of Fogra Research Association Printing e.V. following recommendations. I contacted him, among other things, regarding 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, regarding this standard he wrote to us: "In this test, kappa number (indicator of lignin content), alkali reserve (measure of substances that can neutralise acids produced during ageing), pH value in aqueous solution (is the paper generally acidic?) as well as tear resistance according to Elmendorf (mechanical stability) are determined. This standard is primarily aimed at ensuring that the paper does not release acids or oxidise and thus cause additional damage to the ink. This standard does NOT address the relationship between paper and ink, nor does it address changes in ink."
Our original consideration was to place the prints in polyethylene bags as recommended by Epson for archiving. But Dr. Stolper had a clear recommendation: "As for the polyethylene bag, I don't know if that might not even be counterproductive if moisture accumulates here and microbiology also takes its toll." I must admit, that made sense, especially since McCormick-Goodhart struck a similar chord: "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 eliminated the polyethylene bag.

 

Why is long-term archiving of photographs important?

Nowadays, almost all photographs are taken digitally. Digital images are inexpensive, high-resolution, colour accurate and excellent for retouching. But can we be sure that these images will still be displayable in many years? That they can still be viewed? That the colours will 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 are not endlessly writable; failure of the electronics leads to total loss.
• Due to their small size, these media can easily be forgotten or unintentionally discarded.
• Accidental dropping, water etc. can lead to media failure.
• The cloud also offers no secure 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 up multiple copies?
• Colour microfilm would be a solution, but it is rarely used anymore, plus back printing is complex and requires special readers 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, can the original colour still be viewed?
• Can you manage the permanent migration effort to new data formats?

 

Apart from 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