101 graph toapainting.Therealismofgoodcolorphoto- are otherreasonsthatmostpeoplepreferacolorphoto- sheet ofEktacolorpapercostsonlyabout$6.00),butthere at afractionoftheexpenseanoilpainting(a30x40-inch prints withEktacolorpapermayindeedofferquickresults h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs 3. Shooting aportraitoncolornegativefilmandmaking zine the June11,1989, candid inthiscolorphoto.Thephoto,takenfor and formal,Kochislookingratherrelaxed predecessors, whoseportraitsarebothpainted official portraitinCityHall.UnliketheMayor’s Mayor EdwardI.KochmaywindupasKoch’s on CapitolHill. at theentryofeveryCabinetmember’soffice Kodak EktacolorProfessionalPapernowhangs 40" photographtakenbySmithandprintedon a fractionofthecostoilpainting.So30"x In addition,photographyoffersquickresultsat fessional Paperofferimprovedimagestability. tographic paperssuchasKodakEktacolorPro- to convinceWhiteHouseofficialsthatthepho- ditional oilpaintingswasthatSmithable was donewithphotographsinsteadofthetra- graph willlastaslongapainting. is thatofarchivalquality—whetheraphoto- who thinkstheconcernofArtCommission prove thephoto.“I’mexcited,”saysHeisler, all artworksincitybuildings,stillmustap- Koch. TheArtCommission,whichdecideson Is ItStillaProblemwithColorPrints? Light-Induced CrackingofRCPapers: Light Fading StabilityofDisplayedColorPrints A GregoryHeislerphotoofNewYorkCity . partofthereasonCabinetproject dark fading,andstaining performance. materials, basedonoverall light fading, the longest-lastingcolorfilms andprint See Chapter1foracomprehensive listof , wasHeisler’sfirstassignmenttoshoot Issue No.1,1986 December 1989 New YorkCity Photo “PDNews” bySusanRoman in From aninterviewwithMerrettT.Smith Kodak Recommendations

District 1

New Studio

York News

Light

Times magazine,

Sunday 2

Maga- questions arethesubjectofthischapter. last? Theanswerstotheseandotherlightfadingstability Permanent-Color print,orEverColorPigmentcolorprint a morecostlyUltraStablePermanentColorprint,Polaroid “conventional” colorprintmaterials,howmuchlongerwill will Fuji’sprecedent-settingFujicolor of colornegativepaperslastondisplay?Howmuchlonger display. an Ektacolorprintdoesnot,ispermanenceonlong-term image dyesinEktacolorprints(andmostother storage thecyandyewasalsoleaststableofthree much morestablethanAgfacolorType4paper,indark reddish shadowoftheiroriginallycolorfulimages. all knownexamplesofType4printshadfadedtoanugly stability thatbythetimethischapterwaswrittenin1992, 1982), hadsuchastonishinglypoorcyandyedarkstorage Agfacolor Type4paper(soldworldwidefrom1974until stability indeed,andonepaper,thepreviouslymentioned ity). Somecolornegativepapershadverypoordarkfading because themostpressingproblemwaspoordyestabil- formation indarkstoragewasnotmuchofaworrythen fading stabilityorpoorlight(yellowishstain was themoreseriousproblemwithcolorpapers:poordark fluorescent? Does over thepast20years? ing stabilityofEktacolororFujicolorprintsimprovedmuch rials forprintingcolortransparencies?Hasthelightfad- wedding photographs?Whatarethelongest-lastingmate- the bestcolornegativepaperforvaluableportraitsand pare withthatofFujicolorandEktacolorprints?Whatis bility ofKodakEktathermthermaldyetransferprintscom- Kodak’s Ektacolorpapers?Howdoesthelightfadingsta- photographs! Butonethinganoilpainting thing thatapaintingcanneverachieve.Peoplelovecolor graph —anauthenticfrozenmomentofhistoryissome- Konica “Long Life 100Paper.”)Type to pressin1992,isalsocalled Konica“CenturyPaper”and paper, whichwasstillonthe marketwhenthisbookwent Konica ColorPCPaperType Ektacolor printsindarkstorage. stability ofthecyandyethat effectivelylimitedthelifeof EP Problem ThanDarkFading Light FadingIsNowaMoreSerious How longdoprintsmadewiththemanydifferenttypes Although theEktacolorpapersofsameerawere In the1970’sandearly1980’s,itcouldbedebatedwhich Is tungstenilluminationlessharmfultocolorprintsthan That situationchangedwith the historicintroductionof -2 papersduringthisperiod),anditwastheinadequate UV protectionhelp?Comparedwith SR inApril1984.(Type SFA SR 3 paperslastthan paperwasthe does have,and EP -3 and SR

This document originated at on June 6, 2003 under file name: color 74 Ektacolor ProfessionalPaperasareplacementforEkta- negative papers,andthesenewproducts(whichincluded Agfa andFujiannouncedtheirownsimilarlyimprovedcolor ployed anewhigh-stabilitycyandye.Afewmonthslater dye stability,theintroductionofKonicaType came generallyavailablein1985. accomplished threeimportant breakthroughs: color Pluspaper,which,likeKonicaType negative paper.InAugust1984KodakfollowedwithEkta- Konica paperfarbetterthanthatofanypreviouscolor dye madetheoveralldarkstoragestabilityofnew duced anewhigh-stabilitycyandye.Thisimproved an improvedcyancouplerwhich,duringprocessing,pro- first ofanewgenerationcolornegativepaperstofeature Chapter3 Light FadingStabilityofDisplayedColorPrints .Forthefirsttimeinhistory ofcolorphotography, 1. In additiontoheraldinggreatlyimproveddarkstorage prints, marked thefirsttimethatacolor negative pa- per, whichclaimeda100-year albumstoragelifeforthe sideration. Konica’sadvertisements forType image stabilitybecameanimportant competitivecon- available, evenifthatmeantchangingfromKodaktoFujiasthepapersupplier(seeChapter8). showed thatthegreatmajoritywantedtheirweddingphotographsandportraitsprintedonlongest-lastingcolorpaper stability oftheFujiproduct.Thechangeincolorpaperwasmadeafterapollmailedto Raytown, Missouri,switchedfromEktacolorPortrapapertoFujicolorin1990becauseofthesuperiorlightfading department supervisorSteveTuggle. Wedding portraitsprintedonFujicolorProfessionalPaperSuper RC Paperinportraitandweddingmarkets)be- H&H SR , aleadingprofessionalportraitandweddinglablocatednearKansasCityin paper,em- SR SR paper #341–34 pa- 77% .TheimproveddarkstoragedyestabilityofKonicaType 2. FA Before theintroductionofKonicaType bility. Kodak,Agfa,andFujiallwereforcedtorespond. per had clearly recognized butlittle-discussedproblem within- severe thanstainthatoccurs indarkstorage). induced stainformationduring long-termdisplayisless for longperiods(withmostcolor printmaterials,light- visual changewhenthesepapers arestoredinthedark became aquestionofwhat is themostobjectionable utes toachangeincolorbalancetowardyellow.It stain objectionableinitsownright,butitalsocontrib- age dak, Agfa,andFujishiftedtheemphasisfromdarkstor- yellowish SR characteristics oftheproductstheybought. ers ofcolorpaperweretotallyignorantthestability Kodak andtheothermanufacturers,mostpurchas- age stabilitydatawereforthemostpartkeptsecretby Type paperandsimilarchromogenicpapersmadebyKo- Yellowish stainformationin dark storagehasbeena dye P

beinginspectedat stability ever

stain beenpromotedonthebasisofimagesta- inprintskeptthedark.Notonlyis totheproblemofgradualformation more than700H&H H&H ColorLabbyprinting customers SR paper,im-

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This document originated at on June 6, 2003 under file name: 103 h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs ance changes be reportedalongwithdye stability and its firstlow-stainpaper,Konica problems reallycameintotheopen.Konicaintroduced papers in1992)thatconcernaboutdark-storagestain A Super (replaced withType35paperin1992)andFujicolor 34, alow-stainpaperforprintingtransparencies,in1986 it wasnotuntilFujiintroducedFujichromePaperType the firstKodacolorprintsappearedin1942.However, corporated-coupler chromogenicmaterialseversince in 1989(replacedwithFuji’sadvancedFujicolor new cases isevenmoreseriousthan dyefadingitself.The as asignificantproblem— aproblemthatinmany storage stainformationisfinally beingacknowledged (see Chapter 5). cal papers pany hasalsodiscussedthetopicinanumberoftechni- this advantageinpromotingthepapers,andcom- reduced ratesofstainformation.Fujihasemphasized ket, thesenewFujiandKonicapapershavegreatly Ektacolor andmostotherpaperscurrentlyonthemar- Institute dard publishedbytheAmerican NationalStandards Barney’s printshavesoldforover$10,000. a viewcamerawithlarge-formatcolornegativefilm.RepresentedbytheJanetBordenGalleryinNewYork,someof An exhibitionofTinaBarney’slargeEktacolorprintsattheMuseumModernArtinNewYorkCity1990. 5, inJapanesemarkets1990.ComparedwithKodak With thecurrentgenerationofcolorprints,dark- ANSI IT9.9-1990 FA 3 low-stainpapersforprintingcolornegatives requiresthatd-minstainand d-mincolorbal- colorstabilitytestmethods stan- QA ColorPaperType SFA #324–21 3 77% color anddetail (especiallyinhighlightareas); changesin ing ofthecyan,magenta,and yellowimagedyes;lossof acterized byshiftsincolorbalance causedbyunequalfad- Last FarLongerThanOthers On Display,SomeTypes ofColorPrints .Almostallcurrentcolorpapersfeaturehigh-stability 3. The deteriorationofdisplayed colorprintimagesischar- ity areinprogress.” fading issueasresolved;improvementsinlightstabil- terms ofdyeorimagestability,weconsiderthedark lowing theintroductionofAgfacolorPaperType8,“In on display.AsKlausGerlachofAgfasaidin1985,fol- concern nowisthelightfadingstabilityofcolorpapers Agfa bythemid-1980’s),soprincipalimagestability age stabilityofthetypeabandonedbyFuji,Konica,and papers whichstillhaveacyandyewithpoordark-stor- the onlyexceptionswereseveralofKodak’sEktachrome cyan dyes(atthetimethisbookwenttopressin1992, attention onthesubjectofdark-storagestainbehavior. color balancedata,andthisshouldfocusmuchgreater light ondisplay. when storedinthedarkthantheydoexposedto 4 Colorprintsnowlast Barney uses much longer

March 1990

This document originated at on June 6, 2003 under file name: Some materialsare ences indyestabilityamongcurrentlyavailableproducts. simply that“allcolorsfade”ignorestheverylargediffer- fading, groupingeverytypeofcolorprinttogetherandstating material bythemanufacturer. ity characteristicsofthepaper,i.e.,thosebuiltinto type ofcolorprintisdeterminedbythe ations beingequal,therateoflightfadingaparticular the wallorplacedinaframeondesk.Otherconsider- process thatbeginsimmediatelywhentheprintishungon their originalrichness,brilliance,andsparkle. washed-out, off-colorappearance.Suchprintshavelost mation. Light-fadedcolorprintscharacteristicallyhavea image contrast;andoveralllow-levelyellowishstainfor- Chapter3 Light FadingStabilityofDisplayedColorPrints color imagesfor fivehundredyearsormore. display, theprintswillprobably retainexcellentquality sense, donotfadeatall:that is,undernormalconditionsof prints withhigh-stabilitycolor pigmentsthat,inapractical roid Permanent-Colorprints, itispossibletomakecolor shown byUltraStablePermanent ColorprintsandPola- Even thoughalltypesofcolorprintsaresubjecttolight The light-fadingofacolorprintisslowbutsteady lights formanyyears,however,severefadingeventuallywillresult. Inc. inNewYorkCityselectingimagesforanexhibitionofhisphotographs.Whencolorprintsaredisplayedundersuch only shortperiods;forexample, popular typeoffluorescentlamp.Insomefluorescent-illuminatedoffices,photographsareexposedtothebrightlightfor found. Becauseoftheirhighenergy-efficiencyandlowcost,single-phosphor“CoolWhite”lampsarebyfarthemost are common;indisplaycases,wherephotographsoftendisplayedforextendedperiods,muchhigherintensitiescanbe Fluorescent illuminationisusedinmostoffices,schools,andotherpublicplaces.Illuminationintensitiesof500to2,000l much morestablethanothers. As LIFE magazinephotographerAlfredEisenstaedtisshownhereinhisofficeatTimeWarner inherent dyestabil- #103–15 77% stances producesevereyellow staining. fading ofEktacolorprintsand canundersomecircum- ucts arecapableofaccelerating bothlightfadinganddark lacquer andthemannerinwhich itisapplied,theseprod- hances thevalueofaprintto thecustomer. treatments becausemanyphotographersbelievethisen- phers andisoftencombinedwithvarioussurfacetexturing especially popularamongportraitandweddingphotogra- ing” totheglassunderhumidconditions.Lacquering is glass withoutdangeroftheemulsionstickingor“ferrotyp- importantly, allowsprintstobeframeddirectlyagainst emulsion surfaceglosscharacteristics;and,probablymost face fromabrasion,scratches,andfingerprints;modifies corrective spottingandretouching;helpsprotectthesur- ment withlacquersobscuressurfacedefectscausedby book wenttopress in1992,thisauthorwas notawareof Other Post-ProcessingTreatments by PrintLacquers,Retouching,and Image FadingandDiscolorationCaused According toKodak,depending ontheparticulartypeof Color printsoftenarelacqueredafterprocessing.Treat- 5 Atthetimethis ux

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This document originated at on June 6, 2003 under file name: 105 — includingthosecontaining dye stabilityofaprint.Thus,whenpossible,printlacquers known elementinattemptingtodeterminethelong-term of currentlyavailableprintlacquersaddsasignificantun- cannot beattributedsolelytolacquers.However,theuse and thepicture canassumeaghastlyappearance. (Re- stark reliefbecauseofthese differencesinfadingrates, retouching whentheprintwas new,begintostandoutin facial wrinklesandblemishes, skillfullysmoothedoverby the print’simagedyes.Asa portraitfadesduringdisplay, because theymayfademore slowlyormorequicklythan dye fadingandmakenormal printfadingmoreobvious in moredetailChapter4.) avoided. (Lacquersandotherprintcoatingsarediscussed h emnneadCr fClrPoorpsChapter 3 The PermanenceandCareofColorPhotographs in partby dye fadingindisplayedprintsareactuallycausedatleast been published. studies oftheeffectslacquersonimagestabilityhave and maynotapplytoothertypesofcolorprints.No concerns onlytheeffectsoflacquersonEktacolorprints To date,Kodak’spublishedinformationonprintlacquers one ingredientidentifiedbyKodakaspotentiallyharmful. any commercialprintlacquerthatdidnotcontainatleast Retouching dyescanbothacceleratelocalizedimage This authorbelievesthatsometypesofabnormallyrapid the lampsweremountedongallery’shighceilingatasteepangletoframedprintsminimizesurfacereflections. exhibition ofIlfordCibachrome(Ilfochrome)printsbythelatephotographerHansNamuthatCastelliGalleryinNewYorkCity, Art galleriesandmuseumsareamongthefewplaceswheretungstenlampsonlysourceofillumination.Inthis RC base-associatedfading(seeChapter2)and UV absorbers—shouldbe #149–10 85% glass placedontopofthetest prints,and prints, glass orplasticsheetbetween thelightsourceandtest the dyestabilityofprint. other post-processingtreatments,anyofwhichcanreduce retouching, lacquering,canvasmounting,texturizing,or for aprint,themorelikelyitistohavebeensubjected detail inChapter11.) touching materialsandproceduresarediscussedinmore tests inwhichasheetofRohm andHaasPlexiglas ferent tests: illumination tests,colorprintsweresubjectedtothreedif- daylight illumination.Forthefluorescentandtungsten illumination, incandescenttungstenandnorth accelerated lightfadingtestsusingCoolWhitefluorescent at theendofthischapterwerebasedondataobtained in placed ontopof thetestprints. radiation andevensomeshort-wavelength bluelight,was Stability TablesinThisChapter How toInterprettheLightFading sharp-cutting ultravioletfilter thatabsorbsvirtuallyall It isanunfortunatefactthatthemoreacustomerpays The colorprintimage-lifepredictionsgiveninthetables (2) “Glass-Covered”testsconducted withasheetof (1) “Bare-Bulb”testsinwhichtherewasno (3) “ UV -Filtered” UF -3, a UV

January 1982

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints “Glass-Covered” stabilityrankings,asdetermined bythe catastrophic effect—oncolor imagestability. effect —mostoftenanadverse effect,andsometimesa rately orincombination,all ofthesefactorscanhavean to recommendedprocessingand washingprocedures.Sepa- as choiceofprocessingchemicals and/orfailuretoadhere other coatings,retouchingeffects,andfactorssuch also bebroughtaboutbyapplicationofprintlacquersor with displayedprints). or plastic, called “enclosureeffects”)withprintsframedunderglass print ondisplay.Theseinclude“framingeffects”(also bution, anumberofotherfactorscaninfluencethelife a glas andtheprint. prints, withfreeaircirculationbetweentheglassorPlexi- sion of play underlow-levelillumination(seeChapter2fordiscus- rently withlight-inducedchangesduringprolongeddis- fading anddarkstoragestainingthatmayoccurconcur- UF tests, printswerecoveredwitheitherglassorPlexiglas the surfaceofprints.Forindirectnorthdaylight In thetablesproductsare listedinorderoftheir Changes indyestabilityand/orstaincharacteristicscan The glassand In additiontoilluminationintensityandspectraldistri- -3 sheets,spacedabout color printqualityatthe1986exhibitionofEktacolorprintsbyLenJenshelLaurenceMillerGalleryinNewYorkCity. Henry WilhelmspeakingwithassociatecuratorMatthewPostal(right)abouttheeffectofilluminationintensityonperceived RC RC base-associatedfadingand“framingeffects” base-associatedfadingandstaining,dark UF -3 sheetswereindirectcontactwith 1 ⁄ 8 -inch abovethesurfaceof #209–25A 85% and currentProcess tests. FortheimportantgroupofcurrentProcess is the relatively littleeffectonfadingrates.Farmoreimportant als, thespectraldistributionofilluminationsourcehas become apparentthatformostmoderncolorprintmateri- Distribution oftheLightSource Much MoreImportantThantheSpectral Illumination IntensityIsGenerally compatible colornegativepapers( a densitylossofsingledye. eter wasacolorimbalancebetweentwodyes,ratherthan especially incaseswherethelimitingimage-lifeparam- other tables,theexperimentalerrorissomewhatgreater, experimental errorwasestimatedtobe were testedinallthreelightexposureconditions,andthe pers ( fluorescent lamps andincandescenttungsten lamps). types ofcommonlyencountered indoorlightsources(e.g., will benotedwhenprintsare illuminatedwithdifferent illumination intensity,nogreat differencesinfadingrates being anotableexample— butingeneral,foragiven tions tothis—KodakEktatherm thermaldyetransferprints In reviewingthedatapresentedinthischapter,itwill Table 3.1b intensity oftheillumination.Thereare someexcep- onpage132),atleastthreereplicatesamples EP -2 compatiblecolornegativepa- Table 3.1a ± 5%.Forthe onpage131) RA -4

Carol Brower – November 1986 106

This document originated at on June 6, 2003 under file name: 107 phers whosell printsforlong-termdisplay as walldecor,it ding andportraitphotographers, orcommercialphotogra- will lastthelongestwhendisplayed. Forprofessionalwed- instant colorprints,etc.),which typeofcolorprintlikely material (e.g.,colornegative paper,colorreversal sions fromthesetestsare,within eachclassofcolorprint various typesofcolorprints. procity failuretrendsnotedwithtwo-intensitytesting, rapidly thanpredictedbythesetests.Becauseofthereci- under typicalhomeandofficeconditionsmayfademore ously mentionedfactors,printsonactuallong-termdisplay quered, correctlyprocessedprints.Becauseoftheprevi- chapter arebasedonacceleratedtestdatawithnon-lac- Color PrintMaterialsLastLongest The MostImportantConclusions:Which Chapter3 The PermanenceandCareofColorPhotographs likely thattheysomewhat these image-lifepredictionscouldbeinerror,itismost the specifiedilluminationconditions.Toextentthat chance thatprintswouldlastlongerthanpredictedunder term display(seeChapter2),thereappearstobelittle base-associated fading,and“framingeffects”duringlong- These uncertaintiesaside,the mostimportantconclu- The colorprintimage-lifepredictionspresentedinthis Eastman Housewasrenovatedandthisroomisnolongerusedtoexhibitphotographsfromthepermanentcollection. from theEastmanHousecollection.AftercompletionofadjacentArchivesBuildingin1988, windows cannotbecovered.Whenthisphotographwastakenin1977,upstairsroomusedtoexhibitphotographs both daylightthroughwindowglassandtungstenlamps.Tomaintainthearchitecturalintegrityofhistoricbuilding, George EastmanHouseinRochester,NewYorkisanexampleofoldermuseumwheresomeareasareilluminatedwith overestimate thestabilityof #83–13 RC 79% ing glassorplastic diffuser;and lamps —thatmayornot becoveredwitha glass; are: display conditions”shouldbe approachedwithcaution. (see constitute “normal”displaypracticecoversuchawiderange play area;andthemethodofframingormountingthat duration; thetemperatureandrelativehumidityindis- What Are“Normal”DisplayConditions? and potentialnewclientswillneverwalkinthedoor. ness imagewillsuffer,long-standingcustomersmayleave, the moststablematerialsavailable.Otherwisealab’sbusi- replacement prints,themosteconomicalstrategyistouse eventually bringingfadedprintsbackanddemandingfree competitive reasons,andtominimizethechanceofclients will matteragreatdealtoatleastsomecustomers.For give customersthelongest-lastingcolorprintspossible. is onlygoodethics—andcertainlybusinessto The threemostcommonindoor illuminationsources The illuminationintensity,spectraldistribution,and For operatorsofcolorlabs,thechoicepapers (1) Table 17.1 (2) indirectdaylightthathaspassed throughwindow fluorescentlamps—mostcommonly “CoolWhite” inChapter17)thattheconcept of“normal (3) incandescent tungsten UV -absorb-

1977

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints Figure 3.1 overcoats. (Sources: Rohm&HaasPublicationPL-612c andGeneralElectric Company) Fujicolor, andothertypesof modern chromogeniccolorpapers,allofwhichhaveeffective UV-absorbing emulsion different spectraldistributions ofthesethreelightsourcesproducesurprisinglysimilar fadingrateswithEktacolor, irregular energypeakscharacteristic oftheselamps.Atagivenilluminationintensity(measured inluxunits),thevery fluorescent lamps.Mercuryvapor lineemissionsfromthelow-pressuremercuryarcinfluorescent lampsproducethe Thespectralenergydistribution ofsunlightillumination,incandescenttungstenlamps, andCoolWhite Figure 3.1 98% 108

This document originated at on June 6, 2003 under file name: 109 h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs below 330nm. (Source: GeneralElectricCompany) most typesofplasticseffectively absorb radiation UV image fromtheharmful313nm emission—glassand tween afluorescentlampand colorprintwillprotectthe of ordinarywindowglassor framing glassplacedbe- overcoat.Asheet print materialsthatlackaUV-absorbing the dyeimagesofKodakEktatherm printsandothercolor tively lowenergy,butitcanhave adevastatingeffecton of bare-bulbfluorescentlampsmayappeartoberela- Figure 3.2 fading ofthoseimageswhichhadbeendisplayedforextendedperiods. airports. InthisexampleattheTampa,Floridaairport,intense24-hour-a-dayfluorescentilluminationcausedsevere Display Film)areapopularformofadvertisementforhotels,rentalcaragencies,andotherservicescateringtotravelersat Back-illuminated colortransparenciesandtranslucencies(e.g.,KodakDuratrans,FujiFujitrans,IlfochromeTranslucent The313nanometermercuryvaporemission Figure 3.2 76% #92–7A 79% tions forFujicolor PaperSuper by Fujiforreporting“years ofdisplay”image-lifepredic- from the500lux(46.5fc),also for12hoursaday,adopted distribution theenergyofthis shown in ultraviolet mercuryvaporlineemissionat313nanometers, this author. sity of450lux(42fc)for12hours adayhasbeenadoptedby illuminated museumandarchive displayareas. and commerciallocations,theotherisfortungsten- this author.Onedisplayconditionisforhomes,offices, on two“standard”displayconditions,asdeterminedby Tables 3.1a more detailbelow. ultraviolet radiationoncolorprintfadingisdiscussed in Stability illumination sourcesaredescribedindetail mination sourcesaregivenin lamps. Typicalspectraldistributionsforthesethreeillu- an effective be low,ithasadevastatingeffectoncolorprintsthatlack 1990, Of particularimportancewithfluorescentlampsisthe For homes,offices,andcommercial locations,aninten- The “yearsofdisplay”image-lifepredictionsgivenin

American

of Figure 3.2

Photographic 7 through UV Thisilluminationlevelisnot greatlydifferent -absorbing emulsionovercoat.Theeffectof

National . Althoughintermsofrelativepower 3.6 (pages131through144)arebased

Images

Standard Figure 3.1 UV

– FA emissionmayappearto Methods Type3,oneof Fuji’s

for

. Theseandother Imaging

for ANSI

Measuring

Media

IT9.9-

. – 6

This document originated at on June 6, 2003 under file name: 1963–91) displayed indoors: dictions forIlfochromeprints (calledCibachromeprints, mination conditionsfor“years ofdisplay”image-lifepre- klux) cyclingxenonarctests, Ilfordhaschosenthreeillu- of 1000luxforaperiod12 hours aday.” indoor displayunderhighaverage illuminationconditions cies, introducedin1992:“Type35paperisdesignedfor per Type35,areversalpaperforprintingcolortransparen- to base“yearsofdisplay”predictionsforFujichromePa- family ofFujicolor Chapter3 Light FadingStabilityofDisplayedColorPrints According toFuji: tained fromveryhigh-intensity,85-kluxxenonarctests.) “years ofdisplay”extrapolationswerebasedondataob- Employing dataobtainedfrom veryhighintensity(100 Fuji selectedanevenhigherilluminationlevelonwhich Archives todetectfurtherinkfading,flaking,orotherchangesinthe200-year-olddocuments.) blue light.(Seepage244inChapter7fordiscussionofthecomputer-basedmonitoringsystememployedbyNational the NationalArchives,areprotectedwithbullet-proofglassandayellowfiltermaterialthatabsorbs Constitution (1787),andtheBillofRights(writtenin1789ratified1791),whicharedisplayedmainrotunda with extremelylowintensitytungstenilluminationinanefforttominimizefurtherfading.TheDeclaration(1776),the The UnitedStatesDeclarationofIndependence,whichishousedattheNationalArchivesinWashington,D.C.,displayed exposure foraperiodof12hoursperday. ignated tobeatanaverageof500luxlight and atnight,storageconditionsareusuallydes- during thedayanddropto300luxinevening areas maybeasbright1000luxormore Since incommondomesticsituationssunlit SFA 3 papersintroducedin1992.(Fuji’s 10 9 8 #320–8 77% article inthe In 1988,inthefirstsuchinstance, Kodakpublishedan for colorprintsbasedonspecified illuminationconditions. making predictive“yearsof display” image-lifeestimates Indoors/3 Indoors/2 Indoors/1 color PlusPaper expressedin“yearsofdisplay” basedon a smallgraphshowingthepredicted fadingofKodakEkta- To date,EastmanKodakhas, forthemostpart,avoided Averaging 2500luxfor12hoursperday). indoor swimmingpoolsandaquariums. direct sunlightforhalftheday(i.e.,near Extreme conditions,highhumidityand 12 hoursperday). ies andexhibits.Averaging1000luxfor sunlight (i.e.,underspotlightsingaller- Medium conditions,protectedfromdirect 500 luxfor12hoursperday). 45–55% RH,lightintensityapproximately (i.e., livingrooms,offices,andmuseums: sunlight atleast7feetfromawindow Normal conditions,protectedfromdirect Journal

of

Imaging

Technology UV radiationandmost whichincluded

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This document originated at on June 6, 2003 under file name: 111 Kodak PublicationE-105(March1988). and arelittleaffectedbythe made with conservation. pan andinothercountriesthatstressenergy increasingly foundinhomes,especiallyJa- and publicbuildings.Fluorescentlampsare source inoffices,educationalinstitutions,stores, cent lampsarebyfarthemostcommonlight cost illumination.Moreimportantly,fluores- energy-efficient, evenlydistributed,andlow- light sources,fluorescentlampsprovidestable, Compared withdaylight-simulatingxenonarc relative humidityinacceleratedtestequipment. easier tomaintainthepropertemperatureand tion withrelativelylittleheat;thismakesit lamps providefairlyhigh-intensityillumina- for acceleratedlightfadingtests.Fluorescent nation hasbecomethe“standard”lightsource by Kodakin ated testmethods,the100-luxlevelwasadopted glass-filtered fluorescent illuminationprovides per day. an illuminationlevelof100luxfor12hours Accelerated LightFadingTests Fluorescent Illuminationfor Films, appropriate calculations. illumination eachday,andthenmakingthe determining theaveragenumberofhours Meter isagoodinstrumentforthispurpose), illuminance meter(theMinoltaIlluminance the lightintensityindisplayareawithan ter tootherdisplayconditionsbymeasuring print image-lifepredictionsgiveninthischap- play condition”of450luxfor12hoursperday. than specifiedinthisauthor’s“standarddis- or areilluminatedforfewerhourseachday displayed undermuchlowerlightlevelsand/ of acolorprint.Inothercases,printsare would correspondinglyshortentheimagelife than 12hoursperday—eitherorbothofwhich illumination and/orareilluminatedforlonger situations frequentlyhavemuchmoreintense are commonlyencountered;however,display lar tothisauthor’sstandarddisplayconditions fices, andmuseums,lightingconditionssimi- from acceleratedlightfadingtests. expressed in“yearsofdisplay,”basedondata publications makinganimage-lifeprediction, this authorisnotawareofanyotherKodak publication hasnotbeenwidelydistributedand passed throughwindowglass ( nation ( present inevenbare-bulbfluorescent illumi- h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs All currentchromogeniccolorpapersare For avarietyofreasons,fluorescentillumi- For testingcurrentchromogenic papers, It isasimplemattertoconvertthecolor In thedisplayofcolorprintsinhomes,of- “ReferenceInformationfromKodak,” Figure 3.3 11 Inageneraldiscussionofacceler- UV Image-Stability -absorbing emulsionovercoats ) orindoordaylightthathas

Data: Figure 3.4 UV

Kodachrome radiation 12 This ). a that protectsthemagentaandyellow dyelayers.Unannounced,Kodakadded like mostothercolornegativepapers oftheera,hasa cyan dyewasreducedbymore than50%whenprotectedby type: 1977–82),whichdidnothave a coat, asharp-cutting hour period,was0.78klux.Thetemperature75 daylight throughwindowglass.Theilluminationintensity,averaged overa24- and Agfaincorporated thisfeatureintheircolor papersby1984–85. more sional papers(1984—),whicharemadewithaneffective radiation andshort-wavelengthbluelight.WithEktacolorPlus andProfes- UV dow, withalmostnolightreflectedfromwallsorceilings(which tendtoabsorb humidity 60%.Becausetheprintsampleswereclosetoanorth-facing win- Figure 3.4 at 75 21.5 kluxfor100days;thetemperatureatsampleplanewasmaintained were exposedtoCoolWhitefluorescentilluminationinanacceleratedtestat absorbing overcoat.Inthisgraph,theFuji,Konica,andKodakcolorpapers almost entirelybyvisiblelight,andadditional sources ofillumination.Thefadingthatoccursindisplayedprintsiscaused ultraviolet radiationpresentinfluorescentlamps,daylight,andsomeother absorbing emulsionovercoatthatprotectstheimagedyesfromdamaging benefit. Printsareeffectivelyprotectedevenfromthe bulb fluorescentlamps,mostofwhichhaveahigh-energy Figure 3.3 nm thatproducedrapidfadinginearliercolornegativepaperswithouta UV radiation),thisisa“worst-case”indoordisplaysituationin termsof -absorbing overcoattoEktacolor 74 ° protection thanordinarywindow glass.WithEktacolor74 F (24 TwogenerationsofKodakEktacolorpaperexposedtonorth ° Allmoderncolornegativepapersaremanufacturedwitha C ) andtherelativehumidityat60%. UV filter(Rohm&HaasPlexiglas Figure 3.4 Figure 3.3 64% 64% UV -absorbing overcoat,thefading ofthe RC paperinearly1982;Konica,Fuji, UV protectionisoflittleifany ° F UV (24 UV -absorbing interlayer UF UV ° UV radiationofbare- C UF -3) affordedlittle ) andtherelative -absorbing over- emissionat313 RC -3. Thispaper, paper(initial UV UV UV - -

This document originated at on June 6, 2003 under file name: were usedinthetestsreportedhere.The “Cool White”type,andforthisreasonCoolWhitelamps than 70%ofthefluorescentlampsinU.S.are ever, accordingtotheGeneralElectricCompany,more of whichhavedifferentspectralenergydistributions.How- White, WarmCoolWhiteDeluxe,Daylight,etc.),all the lightfadingstabilityofcolorprints. sources thathaveoftenbeenusedinthepastfortesting indoor illuminationthandothefilteredxenonarclight or tungstenilluminationprovidesaclosermatchtotypical draperies. Theysuggestedthatglass-filteredfluorescent floor coverings,paintonwallsandceilings,furniture, the shorter-wavelengthradiationwaslargelyabsorbedby tive transfer printstestedbythisauthoralsodonothaveeffec- damaging 313nm filtered withacrylicplasticpanelstoabsorbthepotentially finishing nor DyeTransferprintshavea (called Cibachromeprints,1963–91).NeitherIlfochrome and itgreatlyincreasesthefadingrateofIlfochromeprints rapid fadingofthecyandyeinKodakDyeTransferprints, overcoats. Thebare-bulb313nmemissionalsocauses reproducing imagesfromthePhoto prints weretheonlytypeofprintinitiallyavailablefor commercially introducedinthesummerof1992,Ektatherm time, weremanufacturedwithout color papers,which,likemostotherpapersofthe cent lampscausedrapidcyandyefadinginpre-1982Ekta- nary windoworframingglassalsoabsorbsthiswavelength). alone tooknearly 17billionphotographs; of these,about Color NegativePrintPapers Light FadingStabilityof Current Index PrintssuppliedwitheachKodakPhoto ANSI 1.42-1969 accelerated fluorescentlightfadingtest(thenow-obsolete Standard alsospecifiesCoolWhitelampsforthe6.0klux Chapter3 shorter wavelengths( In directcontrasttosunlight,thereislittlecontentatthe contains mostofitsenergyatthelongerwavelengths.. from whathadbeenexpected:“Thecharacteristiccurve mination inhomes(awayfromwindows)wasverydifferent man Kodakreportedthatthe“typical”daytimeindoorillu- glass-filtered daylightilluminationfoundinhomes. light-induced yellowishstainformation—oftheindirect, a reasonableapproximation—intermsofdyefadingand Light FadingStabilityofDisplayedColorPrints fc) acceleratedtests ported byEastmanKodakhavebeenbasedon5.4klux(500 for CoolWhiteDeluxelamps). yellow andredlightoflowerenergy.” (see rescent illuminationhasadevastatingeffectontheseprints the Photo tact sheets”forvisualreferencetotheimagesrecordedon There aremanytypesoffluorescentlamps(e.g.,Cool Kodak Ektathermprintsandothertypesofthermaldye During 1990,accordingtoestimates providedby The 313nmwavelengthemittedbybare-bulbfluores- In 1990,StantonAndersonandRichardofEast- To date,nearlyallofthelightfadingstabilitydatare- UV Figure 3.5 protectionoftheimagedyes,andbare-bulbfluo-

News, CD arealsoEktathermprints. amateurphotographersinthe UnitedStates colorstabilitytestmethodsStandardcalled ). WhentheKodakPhoto UV 14 emissionoffluorescentlamps(ordi- UV employingfluorescentillumination radiationandbluelight)butmuch UV -absorbing overcoat. UV CD -absorbing emulsion 13 ’s. ThePhoto Theyfoundthat ANSI IT9.9-1990 CD systemwas CD as“con- Photo- CD largements, pushed thetotalnumberofprints madefrom from eachnegative,alongwith salesofreprintsanden- photographs made.Thepopularity ofordering“twinprints” market intheU.S.andaccounted for90%ofallamateur films constitutedthelion’sshare ofthetotalamateurfilm 2% ofthemarket. steadily declinedinpopularityrecentyears,hadabout amateurs, andPolaroidinstantcolorprints,whichhave accounted foronlyabout5%ofthephotographstakenby tuted justalittleover2%ofthemarket. 98% wereincolor.Black-and-whitephotographsconsti- increased bytheuseofPlexiglas mination. Thelightfadingstabilityoftheprintsisgreatly violet radiationpresentinglass-filteredfluorescentillu- overcoat arestronglyaffectedbyeventhelow-levelultra- UV transfer (dye-sublimation)printsthatlacka Kodak Ektathermprintsandothertypesofthermaldye- ated fluorescentlightfadingtest,theimagedyesof Figure 3.5 With over15billionexposures in1990,colornegative -absorbing filter. Asshowninthis100-day21.5kluxacceler- Figure 3.5 67% UF -3 orothereffective 15 UV Colorslides -absorbing 112

This document originated at on June 6, 2003 under file name: 113 far and Process all ofthis,itiseasytoseewhycolornegativepapersare obtain withprintsmadefromcolortransparencies. From color negatives.Similarresultsaremuchmoredifficult to tion, andthespeedsimplicityofmakingprintsfrom tive films,andthesmoothtonality,oftensubtlecolorrendi- photographs preferthewideexposurelatitudeofcolornega- tive papers.Mostphotographersmakingfineartcolor ums andprivatecollectorsarealsomadewithcolornega- making prints). and entereddirectlyintoelectronicprepresssystemswithout made oncolornegativepapers(orwithnegativesscanned pers isnowdonewithcolornegativefilms,prints ket. Inaddition,mostofthecolorphotographyfornewspa- prints madefromcolornegativesintheprofessionalmar- teur colornegatives,onecanaddanotherbillionorso these papers.Sotothe20billionprintsmadefromama- photographs, eventhemostexpensive,areprintedwith — butvirtuallyallprofessionalcolorportraitsandwedding requirements ofmassproductionsnapshotphotofinishing materials —everyaspectoftheirdesignisdictatedbythe est toprocessandbyfarthelowestcostofallcolorprint teur colorprintsmadein1990.) million prints—lessthan1%ofthetotalnumberama- ket forprintsfromslideswasestimatedtobeonlyabout24 amateur colornegativesto20billion.(Themar- the rapidlyexpanding minilabmarketin1986. (Intheface h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs Replace ProcessEP-2Materials Process RA-4PapersWill Soon themostimportantpartofcolorprintmarket. Kodak introducedfast-processing Ektacolor2001paper The majorityoffineartcolorprintspurchasedbymuse- Not onlyarecolornegativepaperstheeasiestandfast- RA -4 chemicalswhenthecompany entered by deal with versions ofexistingequipment(mostlabsdidnotwant to cessing machinesortogetinvolvedwithexpensivecon- photofinishing labswerereluctanttopurchaseallnewpro- the sametime,andconversionto ity. InthecaseofEktacolor duced environmentalimpact),andgreaterprocessstabil- (which allowseasiermixing,lesstarformation,andre- duced wateruse,nobenzylalcoholinthecolordeveloper tages, includinglowerchemicalreplenishmentrates,re- silver isrequiredthanwithKodak’s complement of is forminilaboperators. generally islessimportantfor largephotofinishersthanit came sortofanall-or-nothing affair).Speedofprocessing papers and per in1991. Ektacolor 2001PaperwasreplacedbyEdgePa- market, wherethefastestpossibleprocessingisessential. 1988, Ektacolor2001wasrestrictedmainlytotheminilab have slowerprocessingsilverbromideemulsions.Until EP end of1989.)Ektacolor2001andotherProcess facturers, Kodaklefttheminilabequipmentmarketat of intensecompetitionfromJapaneseandEuropeanmanu- processing inapproximatelyhalfthetimerequiredforProcess patible papershaveasilverchlorideemulsionthatallows did notwantto maintainaseparate ing Duratranstranslucentpolyester-base displaymaterial papers to papers forthesameprice,however). lowers manufacturingcosts(Kodaksellsthetwotypes of Commercial labsdidnotwant tochangeuntilafull In additiontoreducedprocessingtimes,silverchloride Outside oftheminilabfield,conversionfrom -2 papers(suchasEktacolorProfessionalPaper),which RA RA RA -4 and -4 paperswasatfirstslow,inpartbecause -4 chemicalsofferanumberofotheradvan- RA -4 materialswasavailable(labs supply- EP -2 chemicalmixingandstorageat RA Figure 3.6 Ektacolor PortraIIPaper). rent Ektacolorpapers(e.g., four timeslonger SFA3 paperslastmorethan light ondisplay,Fujicolor 1971. Whenexposedto more than20yearsagoin of Ektacolor37RCPaper bility sincetheintroduction ments inlightfadingsta- shown negligibleimprove- on theotherhand,have Kodak’s Ektacolorpapers, ing tothisauthor’stests. more than50yearsaccord- estimated displaylifeof or SFA3papershavingan bility, withcurrentFujicol- creasing lightfadingsta- have exhibitedsteadilyin- RA-4 compatiblepapers tions ofFujicolorEP-2and 1980, successivegenera- -4 papers,atleast,less EP EP RA -2 papers,andthis -2 lineforjust one -4 fromEP-2be- Beginningin RA thancur- -4 com- EP -2

This document originated at on June 6, 2003 under file name: ing equipment designedforProcess been discontinued. available whenthisbookwent topressin1992willhave By theendof1994,itislikely thatmanyofthe however, themovefrom been adequatelyresolved.Outsideoftheminilabmarket, introduced product). Byearly1989Fuji,Konica,andAgfaallhad Chapter3 Light FadingStabilityofDisplayedColorPrints dustry-wide changeoverto play materialsalsoavailable fromFujiandKonica,anin- 4 “professional”papersandtranslucentpolyester-basedis- of fairly slowly. With Kodak’sintroductionofacompleteline image keepingproblemswithEktacolor RA For photofinisherswishing to continueusingprocess- -4 materialsinlate1989,andwithlower-contrast RA -4 photofinishingpapers,andearlylatent- EP RA -2 to -4 beganinearnest1990. RA -4 wasstillproceeding EP RA -2, Kodakintro- -4 papershad EP -2 papers RA - other Kodak same asfortheotherEktacolor Ektacolor papers;theimage stabilityofRoyalpaperisthe Enlargement Center).Ektacolor RoyalIIPaperhasathicker first itwasusedonlyintheKodakCreate-A-Print35mm markets (thepaperwasactuallyintroducedin1989,but at Royal IIpaper)intothegeneralminilabandphotofinishing dak introducedEktacolorRoyalPaper(laterreplacedby competitive policyofmaximummarketsegmentation,Ko- RC EP duced Process version ofFujicolor PaperSuper duced FujicolorSupremepaper, athick-base,high-gloss compete directlywithEktacolor RoyalPaper,Fujiintro- baseandasomewhathigher-gloss surfacethanother -2 processcycle.In1990,aspartofthecompany’sbroad its papers). emulsion componentstoMitsubishiforusewith to thatoftheKonicapapers(Konicasupplieskey RA-4 compatiblepapersissimilarifnotidentical included here,theimagestabilityofMitsubishi ing, overall,theworstofgroup.Althoughnot significantly, withtheKodakEktacolorpapersbe- stabilities ofthemagentaandyellowdyesdiffer dyes ofthevariousproductsisfairlysimilar, that whilethelight-fadingstabilityofcyan cyan, magenta,andyellowcolorpatches.Note tive paperscomparedbydensitylossesfrom~1.0 Figure 3.8 Agfa, andmostKonicapapers. storage thanthemagentacouplersusedinKodak, lower ratesofyellowishstainformationindark coupler inFujicolorSFA3papersalsohasmuch fading progressed.Thenew“low-stain”magenta color balanceshifttogreenorgreen/yellowas pers, andthisinturnresultedsignificantlyless much lessthanthemagentadyesinotherpa- dye employedintheFujicolorSFA3papersfaded per day.Thenewtypeofhigh-stabilitymagenta “standard displaycondition”of450luxfor12hours equivalent to26yearsofdisplayunderthisauthor’s high-intensity, 100-daytest.Thislightexposureis all ofthegraphsinthischapterarebasedon at 75 nation inacceleratedlightfadingtestsconducted glass andexposedto21.5kluxfluorescentillumi- neutral patches.Printsampleswerecoveredwith tive paperscomparedbydensitylossesfrom1.0 Figure 3.7 RA RA -4 paperstobeprocessedwiththelonger ° F -4 (24 ECM ° C Process Process ) and60% , whichallowsEktacolorEdgeand RA RA RH FA RA -4 compatiblecolornega- -4 compatiblecolornega- . Unlessotherwisenoted, paper. -4 papers.In1990,to 114

This document originated at on June 6, 2003 under file name: 115 h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs (and Mitsubishi color balancechange.TheKonicaQAType SFA graphs andtablesinthischapter,theFujicolor paper’s performance.Asisthecaseinother usually themostimportantindicatorofacolor For portraitsandweddingphotographs,thisis Macbeth ColorCheckerLightSkinColorpatch. papers comparedbydensitylossesfromthe author’s “standarddisplaycondition”). (equivalent to16yearsofdisplayunderthis patch, a60-daytestperiodwasusedinthis density oftheColorCheckerLightSkinColor ish appearance.Becauseofthelowerinitial colors, resultinginasickly,washed-out,green- skin tonereproduction—seriouslydegrade yellow dyes—thetwomostimportantin paratively largelossesofboththemagentaand ance change.IntheEktacolorpapers,com- and sufferingthemostobjectionablecolorbal- with theKodakEktacolorpapersfadingmost for colorpapers. low-stain magentacouplersdeveloped byFuji marked thefirstuseofone the high-stability, hours perday.FujicolorType 12 paper (1985—) “standard displaycondition”of450luxfor12 lent to26yearsofdisplayunderthisauthor’s (24 celerated lightfadingtestsconductedat75 klux fluorescentilluminationfor100daysinac- were coveredwithglassandexposedto21.5 ible papersdiscussedpreviously,theprintsamples Figure 3.11 Figure 3.9 1.0 neutralpatches.Aswiththe tive paperscomparedbydensitylossesfrom Figure 3.10 balance changes. highlight areasfadeorsuffersignificantcolor pictorial qualityisadverselyaffectedifthese important areasoflow-densityhighlights,and of light-skinnedordark-skinnedpeople,have dark-skinned individuals.Mostportraits,whether This colorisrepresentativeoftheskin the MacbethColorCheckerDarkSkinColorpatch. tive paperscomparedbydensitylossesfrom ° C 3 papersfadedtheleastandhad ) and60% Process Process Process RH SA . Thislightexposureisequiva- RA ) paperswerethenextbest, EP RA -4 compatiblecolornegative -2 compatiblecolornega- -4 compatiblecolornega- RA -4 compat- A ° 2 F

This document originated at on June 6, 2003 under file name: Table 3.1a color version calledFujicolor acteristics oftheother the sameprecedent-settingimagestabilitychar- Supreme paperhasalsobeenupgradedtohave trait Paper,aroundtheendof1992.Fujicolor bilizers incorporatedintotheemulsionof light fadingisfurtherincreasedbyspecialsta- has greatercolorpurity.Theresistanceto increased resistancetolightfadingandalso coupler thatformsamagentadyeofgreatly sible byanewtypeofhigh-stability,low-stain per Super papers. RA stable ofthethreeimagedyes). magenta dyewasconsideredtobetheleast author’s visually-weightedfadinglimits,the proved tobemagenta-dye-limited(withthis Chapter3 RA for PrintingColorNegatives of CurrentProcessRA-4Papers Comparative LightFadingStability Light FadingStabilityofDisplayedColorPrints tatively namedFujicolor trast “professional”versionofthepapers,ten- able. Fujiplannedtointroducealower-con- dark storagedye fading. stain formationisamoreserious problemthan duction ofEktacolor37 pers hasbeenlittleimprovedsincetheintro- times the printsareindarkstorage. Withcurrent nounced tendencytoformyellowish stainwhen and theunreactedmagentacoupler hasapro- magenta dyehaspoorlight fadingstability, by Kodakinits water wash. with Fujiwashlessstabilizer,oraregivena the printsareprocessedin“washlessmode” reports thatitmakeslittledifferencewhether storage, and,intermsofstainformation,Fuji ish stainformationwhentheprintsareindark coupler hasmarkedlyreducedratesofyellow- of theFujicolor the timethisbookwenttopressinlate1992. paper availabletothisauthorfortestingat Portra IIwasthelatestversionofEktacolor a replacementforEktacolorPortraPaper. tra IIPaper,whichwasintroducedin1992as here werebasedontestswithEktacolorPor- ing stability;theimage-lifepredictionsgiven Table 3.1a ing mercial labsarebyfarthebest,longest-last- Portra II,Supra,Ultra,andtheotherKodak When exposedtolightondisplay,theFuji- Introduced inFebruary1992,FujicolorPa- All ofthe The magenta-dye-formingcoupleremployed The majoradvanceinlightfadingstability -4 and -4 papers,asshownin RA

longer SFA -4 compatiblecolornegativepapersavail- 16 ThenewFujimagenta-dye-forming EP 3 paperswilllast hadessentiallyidenticallightfad- (page131). FA thanEktacolorEdge, -2 Ektacolorpapers,darkstorage RA Type3andahigher-contrast RA -4 Ektacolorpaperslistedin SFA -4 and 3 paperswasmadepos- SFA

SFA RC SFA Allofthesepapers EP paperin1971;the Figure 3.6 3 papers. 3 ProfessionalPor- 3 TypeCforcom- -2 Ektacolorpa- more

than and in

SFA four 3 recommended asthebestof available intheU.S.andEurope,KonicaColorType not generallybeenmarketedoutsideofJapan.Amongthepapers papers; however,foranumberofreasons,FujicolorType12paperhas Fujicolor Type12paperhasthebestlightfadingstabilityamong by densitylossesfrom~1.0cyan,magenta,andyellowcolorpatches. Figure 3.12 under thisauthor’s “standarddisplaycondition”). day testperiodwasusedinthis test(equivalentto16yearsofdisplay lower initialdensityoftheColorChecker LightSkinColorpatch,a60- than KodakEktacolorPlusand Professionalpapers.Becauseofthe EP Figure 3.13 (and Mitsubishi)papersarerecommended asthebestamongavailable most importantindicatorofacolor paper’sperformance.TheKonica Color patch.Forportraitsandwedding photographs,thisisusuallythe pared bydensitylossesfromtheMacbethColorCheckerLight Skin -2 papersand,intermsofoverall stability,aresignificantlybetter Process Process EP EP -2 compatiblecolornegativepaperscompared -2 compatiblecolornegativepaperscom- EP -2 products. SR papersare 116

This document originated at on June 6, 2003 under file name: 117 h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs short-term, 21.5 kluxtest. closely approximatesnormalindoor displayconditionsthandoesthe compared withthe21.5kluxtest. Thelow-intensity1.35kluxtestmore tially increasedfadingoftheEktacolor yellowdyeinthe1.35kluxtest high-intensity 21.5kluxtests. Particularly noteworthyisthesubstan- between thetwoproductsis greater thanindicatedbyshort-term, with theEktacolorpaperthan withtheKonicapaper,disparity Because oflight-fadingreciprocity failures,whicharemorepronounced Konica Type RH illumination. Thesampleareawasmaintainedat75 Plus Papercomparedina6-year,1.35kluxtestwithfluorescent Figure 3.15 , andtheprintsampleswerecoveredwithglass.Inthis test, KonicaColorPCPaperType SR paperperformedmuchbetterthandidEktacolorPlus. SR andKodakEktacolor ° F (24 ° C ) and60% suffer colorbalancechanges. is adverselyaffectedifthesehighlightareasfadeor eas oflow-densityhighlights,andpictorialquality skinned ordark-skinnedpeople,haveimportantar- skinned individuals.Mostportraits,whetheroflight- color isrepresentativeoftheskindark- Macbeth ColorCheckerDarkSkinColorpatch.This tive paperscomparedbydensitylossesfromthe Figure 3.14 stability ofneutralandcolor patchesforthe Type ward their kind;withthemarket moving rapidlyto- Table 3.1b Fujicolor their lowinitialdensity. pecially apparentinlightskintonesbecauseof greenish appearancetoskintones.Thisises- Ektacolor papersimpartsanevermoresickly, disproportionate fadingofthemagentadyein pers isobvious.Aslightfadingprogresses,the are amust. tography —marketswherelong-lastingprints portrait, wedding,photo-decor,andfineartpho- the papersareparticularlyrecommendedfor light ondisplayandwhenkeptindarkstorage, Figures 3.9 paper intermsofthefadingskintones(see ding photographersistheperformanceofacolor changes asfadingprogresses. yellow dyes,thusminimizingcolorbalance papers closelymatchesthatofthecyanand or lightfadingstability,KonicaColor papers ineitherdarkstorage(yellowishstain) the current ing stabilityofneutralandcolorpatcheswith counterpart, Konica processing pers arebeingphasedoutinfavoroffaster- among the Fujicolor X EP EP for PrintingColorNegatives of CurrentProcessEP-2Papers Comparative LightFadingStability stability ofthemagentadyeinFujicolor Color, andAgfacolorpapersisobvious.The color skin colors).Again,thesuperiorityofFuji- son ofcolorpapersbasedonthestability edge, thisisthefirstpublicationofacompari- 2, arethisauthor’ssecondrecommendation Although notasgoodtheFujicolor As discussedpreviously,Process Because ofthesuperiorperformance Of particularimportanceforportraitandwed- Figures 3.7 Figures 3.11 -2 papers.Compared withEktacolorPlus -2 paperswillbeintroduced in thefuture. SFA A RA 3 anditslower-contrast“professional” -4 papers,itisunlikelythat anynew SFA 3 papersoverKodak’sEktacolorpa- SFA Process (page132)areprobablythe lastof RA RA RA and 3 papersoverEktacolor,Konica 3 papers,bothwhenexposedto -4 papers. -4 papers.Thepaperslistedin -4 papers.Thesuperiorityofthe and and 3.10 3.12 QA 3.8 EP ; tothisauthor’sknowl- PaperProfessionalType -2 compatiblecolornega- illustratethelightfading comparethelightfad- QA EP Paper -2 pa- SFA SFA 3 3

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints Type ance, comparedwiththatofKonicaType yellow dyes,andthegreaterchangeincolorbal- Note themorerapidfadingofmagentaand low-level, 1.35kluxacceleratedlightfadingtest. White fluorescentilluminationfor6yearsina Professional papersexposedtoglass-filteredCool Figure 3.17 a sharp-cuttingacrylicUVfilter. with printscoveredsheetsofPlexiglasUF-3, posed tobare-bulbfluorescentilluminationand ally similardatawereobtainedwithprintsex- EX light fadingstabilityofKonicaType relatively smallchangeincolorbalance,theoverall 1.35 kluxacceleratedlightfadingtest.Witha rescent illuminationfor6yearsinalow-level, papers exposedtoglass-filteredCoolWhitefluo- Figure 3.16 Konica ColorType Figure 3.18 cess prints madewithcurrentpapers. tion, isthemostseriousproblem fordisplayed however, thatdyefading,and notstainforma- of chromogeniccolorpapers.It shouldbenoted, formation onthelight-inducedstainingtendency failures, high-intensitytestsofferlittleusefulin- cause ofpronouncedstain-formationreciprocity the stainlevelofKonicaType Ektacolor printhaddevelopedapproximatelytwice cent illumination.Attheendof6years, compared ina6-year,1.35kluxtestwithfluores- paperswasbetterthanthatofanyotherPro- EP EX -2 compatiblepaperstested. papers(seeabove KodakEktacolorPlusand KonicaColorType D-minyellowishstainformationin SR andEktacolorPluspapers Figure 3.16 SR SR andType SR print.Be- andType ). Gener- SR and EX 118

This document originated at on June 6, 2003 under file name: 119 is thepredecessor ofFuji’soutstanding of Fuji’shigh-stability,low-stain magentacouplers,andit outside ofJapan.Thiswasthe firstFujipapertouseone lab Paper,FujicolorPaperType 12hasnotbeenavailable maintained. tests, andamorepleasing flesh tonecolorbalancewas less ofareciprocityfailuretheyellowdyein1.35klux PC PaperType shown in tones, asshownin This isparticularlyimportantforreproductionoflightskin and Professionalpapers,KonicaType SR fessional balance change)wasevenmorepronounced.KonicaType Stabilizer, thefadingofyellowdye(andresultantcolor Figures 3.11 In comparing lent illuminationthanitdidinhigh-intensity21.5kluxtests. cant reciprocityfailureandfadedmuchmorewithequiva- and Professionalpapers,theyellowdyeexhibitedsignifi- term, low-level1.35kluxtestsisthatwithEktacolorPlus in more apparentin6-year,low-level1.35kluxtests,asshown color PlusandEktacolorProfessionalpaperbecomeseven Plus andProfessionalpaperswereprocessedwith Furthermore, asshownin balance shiftwasmoreextremeinthe1.35kluxcondition. h emnneadCr fClrPoorpsChapter 3 The PermanenceandCareofColorPhotographs Figure 3.15 andProfessional Except forlimitedsalesunder thenameFujicolorMini- One oftheinterestingfindingsthisauthor’slong- Figure 3.14 EX papersdemonstrateimprovedperformance. , Figure 3.19 through 3.12 SR , and andProfessional Figure 3.13 EX . ThesuperiorityoftheKonicaColor , ontheotherhand,exhibitedmuch Figure 3.18 3.14 withtheEktacolorPlusdatain Figure3.19 , itcanbeseenthatthecolor . Darkskincolorstabilityis . EX SR SFA papersoverEkta- , whenEktacolor andKonicaPro- 3 papers.Fuji- EP -3 Type 02- of water. overs whenthedevelopersweremixedwithcertaintypes fessional Type in Ektacolorpapers,however, isthe Paper, whichdidnothavea RC RA EP Color NegativePapers Stability of Discontinued Comparative LightFading sion overcoatthatappeared unannouncedinEktacolor74 with KonicaSuperStabilizer. stability, particularlywhenprocessedinthewashlessmode the Konicapapershadsignificantlybetterdarkstorage been madesincetheintroductionofEktacolor37 ment inthelightfadingstabilityofEktacolorpapershas One ofthemoststrikingfindingsisthatverylittleimprove- non-Fuji market because,accordingtoFuji,Kodakandsomeother color Type12paperwasnotsuppliedtothegeneralU.S. author recommendsKonicaColorPaperType ited veryrapid cyandyefadingwhenexposed toillumina- magenta dyecontinuestobe usedbyKodakinitscurrent in 1971—over20yearsago!Thesamegeneraltype of -2 products,althoughsome Most ofthepapersincludedin Even thoughFujicolorPaperType03andProfessional Paperinearly1982.Theinitial typeofEktacolor74 -4 and EP P EP hadsomewhatbetterlightfadingstability,this bilizer. low-pH stabilizerssuchasKonicaSuperSta- yellow dyeinKonicaType bility ofthesepaperswhendisplayed.The lizer significantlyreducedtheyellowdyesta- tacolor PlusPaperwasintroducedin1984. Stabilizer wasgenerallyphasedoutafterEk- intensity (e.g.,21.5klux)tests.Useof its largereciprocityfailuresinshort-term,high- larly objectionableinskin-tonecolors,exhib- loss ofyellowdyestability,whichisparticu- similarly affectedby paper (1977–86).Unfortunately, RC age, wasextensivelyusedwithEktacolor37 mation withEktacolorpapersindarkstor- dye stabilityandreducesyellowishstainfor- EP Ektaprint creased whenprintswereprocessedwith klux fluorescenttests,yellowdyefadingin- ferent methods.In6-year,glass-covered1.35 Ektacolor Plusprintsprocessedbytwodif- Figure 3.19 -2 developersproducedunacceptablecolor-cross- -3 Stabilizer,whichbothincreasescyan -2 papers.Oneimprovement thatcanbeseen paper(1971–78)andEktacolor74 EX asthebestof EP -3 Stabilizerasafinalrinse.This Thelightfadingbehaviorof UV EP RA -absorbing overcoat,exhib- -3 Stabilizerorother -4 papersarerepresented. Table 3.1c SR EP UV paperisnot -2 papersbecause EP -absorbing emul- -3 Stabi- (page133)are SR EP RC RC -3 andPro- Paper RC

This document originated at on June 6, 2003 under file name: ures 3.20 made with mogenic colornegativeandreversalpapersarenow transparencies isgivenin Printing ColorTransparencies Stability ofPapers for Comparative LightFading efit ofthe the lightpassingthroughanorth-facingwindow,ben- with noglasscovers).Inindoornorthdaylighttests, cent lampsorbare-bulbquartzhalogeninfixtures tion withasignificant ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints limits reportedin 0.6 whichwasemployedindeterminingtheimage-life density ismeasuredatthevisuallymorecriticalof at aneutraldensityof1.0maydifferfromthatwhenthe the relativeperformanceofthesepaperswhenmeasured 450 luxfor12hoursperday.Itisimportanttonotethat display underthisauthor’s“standardcondition”of RH klux for5years(1,825days),alsoat75 were exposedtoanequivalenttotallightexposureat1.35 in short-term,high-intensitytests,theCibachromeIIsamples Cibachrome materials(renamedIlfordIlfochromein1991) Because ofthelargereciprocityfailuresexhibitedbyIlford light fadingtestsconductedat75 klux fluorescentilluminationfor100daysinaccelerated samples werecoveredwithglassandexposedto21.5 cess R-3Fujichrome,Ektachrome,andAgfachromeprint the colornegativepapersdiscussedpreviously,Pro- pared bydensitylossesfrom1.0neutralpatches.Aswith Figure 3.20 The comparativestabilityof materials forprintingcolor . Thislightexposureisequivalenttoabout30yearsof and UV UV -absorbing overcoatissignificant.Allchro- -absorbing overcoats. Papersforprintingcolortransparenciescom- 3.21 . Amongconventional, easy-to-process Table 3.2 UV content(e.g.,bare-bulbfluores- Table 3.2 onpage135. ° F (page135)andin (24 ° F ° C (24 ) and60% ° C ) and60% RH Fig- . 135) and tions givenforIlfochromematerials in dye willprobablyhavelittleeffect ontheimage-lifepredic- Ilfochrome (Cibachrome)print materials,thenewmagenta cyan andyellowdyesremain unchangedfromprevious pared withthepreviousmagenta dye.Becauseboththe said tohavesomewhatimproved lightfadingstabilitycom- 1992, Ilfordintroducedanewtypeofmagentadyethat is print materialsforProcessP-4announcedduring1991and commercial display,andfineartfields. would beenormouslysuccessfulintheportrait,wedding, realm ofsilverdye-bleachtechnology,thisnewproduct printing versionofIlfochrome,whichiswellwithinthe preformed dyesystemoverthechromogenicprocess. tures. HereweseethegreatadvantageofIlfochrome zero stainlevels)indarkstorageatnormalroomtempera- considered tobeabsolutelypermanent(withessentially Cibachrome, 1963–1991)aretheonlyproductsthatcanbe color printmaterials,IlfordIlfochromematerials(called Figure 3.21 (see discussioninChapter2). least sensitivetolossesinyellowandnear-yellowcolors this authorinevaluatingcolorprints,thehumaneyeis cies. Ofthevariousimage-lifeparametersemployedby easily processedmaterialsforprintingcolortransparen- overall light-fadingstabilityofIlfochromeasthebestall the pureyellowpatch,thisauthorneverthelessrates In spiteofcomparativelylargelossestheyellowdyein klux testisnotevidentinshort-term,high-intensitytests. Ilford CibachromeII(IlfochromeClassic)printinthis1.35 yellow colorpatches.Thelargelossofdyeinthe pared bydensitylossesfrom~1.0cyan,magenta,and Beginning withseveralofthenewIlfochromeRapid If Ilfordwoulddevelopanimproved-stability,negative- Table 3.4 Papersforprintingcolortransparenciescom- (page139).Ilford reportsthatthedark Table 3.2 (page 120

This document originated at on June 6, 2003 under file name: 121 paper isbyfarthebestchoiceamongProcess is givenin of PigmentColorPrints Comparative LightFadingStability is theslide-printingcounterparttoFujicolor dark storagetogetherwithgoodlightfadingstability,this papers. Withitsgooddyestabilityandlowstainlevelin that althoughFuji for printingcolornegatives.Itshouldbenoted,however, and shouldbestrictlyavoided. Copy Paperisarelicfromanearliereraofcolorpapers cyan dyewithverypoordarkfadingstability.Ektachrome market atthetimethisbookwenttopressin1992,hasa Type 35papers. with EktachromeRadiancepapersthanFujichrome of yellowishstainformationindarkstoragearefarhigher stability anddarkstoragestability.Inparticular,therates ably shortofFujichromeType35paperinbothlightfading as thesuccessortoEktachrome22Paper,fallsconsider- that ofcurrentIlfochromeprints! stability ofFujicolor to lightfadingondisplay.Forthatmatter,the dark storagestability, as itwasfortheoldermagentadye.” fading stabilityofthenewmagentadyeis“asoutstanding made onfiber-base paper). image ofacarefullyprocessed black-and-whitephotograph dye imagecanevenapproach thestabilityofsilver after relativelyfewyearsofdisplay. stored inthedark,willfade toanobjectionabledegree Transfer prints,bothofwhich areexceedinglystablewhen exposed tolight.EvenIlfordIlfochromeandKodakDye conventional colorfilmsandprintsgraduallyfadewhen degree, alloftheorganicdyesusedtoformimages in h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs The estimatedimagelifeofdisplayedpigmentcolorprints Kodak’s EktachromeCopyPaper,whichwasstillonthe Kodak EktachromeRadiancePaper,introducedin1991 As shownin (In long-termdisplay,nocurrent colormaterialwitha Table 3.2 Figures 3.20 SFA SFA (page135).Toagreaterorlesser SFA 3 andType35papershavesimilar 3 paperissignificantlybetterthan 3 paperismuchmoreresistant and 3.21 , FujichromeType35 SFA R -3 reversal 3 papers ment prints. to evaluatethestabilityofPolaroidPermanent-Colorpig- year, high-intensity21.5kluxacceleratedfluorescenttest, UltraStable processisdescribedindetailonpages49–51.) or moreforthefirstprint;additionalcopiesareless.(The UltraStableprintmaycost$500 expensive. A16x20-inch final imagearerequired,havingtheprintsmadeisfairly parencies. Becauseseparationnegativesthesizeof can bemadefromexistingprints,colornegatives,ortrans- sharp andhaveexcellentcolortonereproduction.Prints Cruz, California. als, aresuppliedbyUltraStableColorSystems,Inc.ofSanta ments overtheearlierPolaroidPermanent-Colormateri- users andarenotsoldinthegeneralmarket. the PolaroidCorporationundercontractwithcommercial California. ThePolaroidmaterialsaremanufacturedby rials weredevelopedbyCharlesBergerofBenLomond, long-lasting polyester-basematerials. under theharshestconditions.Theprintsaremadeon must beabletosurviveyearsofoutdoorsunexposure ments aresimilartothoseinautomobilepaints,which types ofcolorphotographstoformtheimage.Thepig- black pigmentsinsteadoftheorganicdyesusedbyother Permanent Colorprints dreds ofyearsexposuretolightondisplay,UltraStable and PolaroidPermanent-ColorPrints UltraStable PermanentColorPrints doubt thatUltraStable printsmadewith the “improved- terials havingadifferent,less light-stableyellowpigment.) included. (Long-termtests were donewithprototypema- went topress,testdatafor these materialscouldnotbe introduced inearly1993)were notavailablewhenthisbook terials withthe“improved-stability” yellowpigment(tobe prints This authorhasemployedvarioustests,includinga6- When madeproperly,UltraStableprintsareextremely UltraStable materials,whichhaveanumberofimprove- Both UltraStableandPolaroidPermanent-Colormate- To makeacolorphotographthatcanwithstandhun- What informationthatisavailable, however,leavesno 20 employhighlystablecyan,magenta,yellow,and 21 BecauseUltraStablePermanentColorma- ment inPolaroidPermanent-Colorprints. lar tothatofthecadmiumyellowpig- to havelightfadingstabilitythatissimi- for theUltraStableprocessisexpected pigment tobeintroducedinearly1993 non-toxic (lead-free)metal-typeyellow Color prints.The“improved-stability” similar tothatofPolaroidPermanent- ments withlightfadingstabilitythatis pigments, havecyanandmagentapig- prints, whichalsoemployhigh-stability color prints.UltraStablePermanentColor dyes inEktacolorandothertraditional resistant tolightfadingthantheorganic employ colorpigmentsthatarefarmore prints. PolaroidPermanent-Colorprints prints comparedwithKodakEktacolor stability ofPolaroidPermanent-Color Figure 3.22 17–19 andPolaroidPermanent-Color Thepredictedlight-fading

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints long-lasting pigmentcolorprints. Hills, Californiaannouncedthe EverColorprocessformaking EverColor PigmentPrints Dyecolor printsareshownin manent-Color Prints,KodakDyeTransferandFuji ity” yellowpigmentintroducedinearly1993),PolaroidPer- Permanent ColorPrints(madewiththe“improved-stabil- failure ofthepolyestersupportitself. and whitepolyestersupportmaterial,orbytheeventual exposure tolight,byadhesionfailuresbetweenthegelatin image layers,byinstabilityofthegelatinafteryears of ating relativehumidity)ofthepigment-containinggelatin by cracking(whichmostlikelywouldbecausedfluctu- life oftheprintsprobablyisnotlimitedbyfading,butrather Polaroid Permanent-ColorPrintsissuchthatthedisplay extremely gooddarkstoragestability. noticeable fadingorstainingoccurs.Theprintsalsohave types ofprintsshouldlastfor500yearsormorebefore typical indoordisplayconditions,itisexpectedthatboth on themarket( prints arefarmorestablethananyothertypeofcolorprint stability” yellowpigmentandPolaroidPermanent-Color cess isahigh-stability modificationoftheAgfaProof graphic to-process materials. color, Agfacolor,KonicaColor,Ilfochrome,andothereasy- ably morelabor-intensiveandcostlythanFujicolor,Ekta- size asthefinalprints;becauseofthis,theyareconsider- require black-and-whiteseparationfilmsthatarethesame in darkstorage(seeChapter5).Allfouroftheseprocesses are subjecttolightfading,theyessentiallypermanent employ preformeddyestoformtheimage;whileprints nation for100days.DyeTransferandFujiDyecolorprints ered withglassandexposedto21.5kluxfluorescentillumi- sity patches.Inthisacceleratedtest,theprintswerecov- Fuji Dyecolorprintsbydensitylossesfrom1.0neutralden- manent-Color pigmentprintswithKodakDyeTransferand pigment tobeintroducedinearly1993)andPolaroidPer- prints (basedontheestimatedstabilityofnewyellow Figure 3.23 In late1992theEverColor Corporation ofElDorado The comparativelightfadingcharacteristicsofUltraStable The stabilityofthecolorpigmentsinUltraStableand AcomparisonofUltraStablePermanentColor see Figures3.22 Figures 3.23 22 through TheEverColorpro- and 3.24 3.24 ). Under . remove thedeveloped silverimage,andthen washesoff image density,immersesthe printinableach/fixbathto ning developer”thathardens thegelatininproportionto processing machinewhichdevelops theimageina“tan- ing exposure,theprintsheet isrunthroughanAgfaProof tive inalow-wattagegraphic artscontactprinter.Follow- exposed throughtheappropriate screenedseparationnega- is driedinanAgfaProofdryer.Theprintsheetthen automated transfermachine.Followingtransfer,thesheet onto apolyesterprintsupportsheetwithanAgfaProof cially inearly1993. pigments. EverColorplanstooffertheprintscommer- emulsions thatcontaincyan,magenta,yellow,andblack arts proofingprocesswhichemployssilver-halidegelatin Osaka, JapanandarenotavailableoutsideofJapan. Process, areproducedbytheFujicolorServiceslabin which issimilartothatusedwiththeKodakDyeTransfer Fujicolor Dyecolorprints,whicharemadebyamethod ditions werethesameasthoseemployedin ~1.0 cyan,magenta,andyellowpatches.(Thetestcon- fer printsandFujiDyecolorbydensitylossesfrom roid Permanent-ColorpigmentprintswithKodakDyeTrans- yellow pigmenttobeintroducedinearly1993)andPola- Color prints(basedontheestimatedstabilityofnew Figure 3.24 In succession,eachlayerismechanicallytransferred AcomparisonofUltraStablePermanent Figure 3.23 .) 122

This document originated at on June 6, 2003 under file name: 123 can beprinted fromanytypeofphotographic originaland ing. Fujicallsthephotographs “quasi-eternal.” doubt thatPhotoceraphotographs are test datamadeavailabletothis authorbyFujileavelittle time fortestresultstobeincluded inthisbook.However, Samples ofPhotoceraphotographs werenotreceivedin and parks,portraitsformemorialsgravestones. photographs includeheirloomgifts,outdoorsignsinzoos abrasion. IntendedmarketsforFuji-InaxPhotoceracolor fire; inaddition,theimagesareveryresistanttosurface dark andisalsounaffectedbylight,rain,seawater, resulting “photographicceramictile”ispermanentinthe substrates whicharefiredatveryhightemperatures.The employs inorganicpigmentstoprintimagesonceramic able onlyinJapanthroughFujicolorProcessingService. tiles andbathroomfixtures.Thephotographsareavail- Inax Corporation,amajorJapaneseproducerofceramic 44) areajointdevelopmentofFujiPhotoFilmCo.,Ltd.and quest aftertheEverColorprocessgoesintoproduction. will probablycontinuetosupplyUltraStableprintsonre- Prints byNordstrom.Hehasindicatedthathiscompany was producingUltraStableprintsthroughhisfirm,Color is includedhere. to knowabouttheEverColorprocess,andforthatreasonit print. Nevertheless,itwasfeltthatthereaderwouldwant this writing,authorhadnotevenseenanEverColor opportunity totestEverColorprints.Indeed,atthetimeof went topressinlate1992,thisauthorhadnotthe It mustbeemphasized,however,thatatthetimethisbook thor hasincludedEverColorprintsin by BillNordstromoftheEverColorCorporation,thisau- the printswhenonlyoneortwocopiesarerequired. full-size separationsandwouldlowerthecostofmaking output device.Thiswouldeliminatetheexpenseofmaking the materialscouldbedirect-writtenbyalaserscanner speed silverhalidesintheemulsions,itwouldappearthat reproducible. Inthefuture,withincorporationofhigh- graphic artsproofsisverygood,andtheprocesshighly prints atreasonablecost.TheimagequalityofAgfaProof characteristics formakingverylonglasting,high-quality color pigments. that areformulatedwithcarefullyselectedhigh-stability poration contractedwithAgfatocoatspecialemulsions ing stabilitywasnotaconsideration.TheEverColorCor- selected topreciselymatch4-colorprintinginks;lightfad- and blackpigmentsnormallyemployedbyAgfahavebeen proofing process,andassuchthecyan,magenta,yellow, the remainingthreecolorstocompleteprint. an AgfaProofdryer,andtheprocessisrepeatedforeachof bath torevealthecolorimage.Theprintisthendriedin unhardened pigment-containinggelatininawarmwater Ceramic ColorPhotographs Fuji-Inax Photocera h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs Photocera photographs,which havescreenedimages, The Photoceraprocess,whichwasintroducedin1991, Fuji-Inax Photoceraceramiccolorphotographs(seepage At thetimethisbookwenttopressin1992,Nordstrom Based onlimitedinformationthepigmentsprovided The EverColorprocessappearstohavealloftheneeded The AgfaProofsystemwasdesignedasagraphicarts Table 3.2 extremely (page135). longlast- made byAmerican InkJet,whichproved onlysomewhat are availableinavarietyofsizesfrom2 are madewiththeKodak quality “photorealistic”colorprints.Ektathermprints,which Hitachi, andothermanufacturerstoproducefairlyhigh- in digitaldesktopthermalprintersmadebyKodak,Sony, the thermaldyetransferprocess,whichisbeingemployed the photographyfield.Probablyforemostamongthemis years andarenowbeginningtomakeseriousinroadsin making colorprintsthathaveemergedduringthelast10 Table 3.3 located nearParis, in FrancebyAtelierMichelFresson.TheFressonlab, Laser Copier,IrisInkJet,andOtherProcesses Prints Madeby Thermal DyeTransfer,Canon Comparative LightFading Stability ofColor Fresson QuadrichromiePigmentPrints do whenprotectedfrom illumination, theprintsfademuchmorerapidlythanthey radiation ispresent,suchaswithbare-bulbfluorescent radiation, andindisplaysituationswheresignificant CD inches ($5,820forthefirstprint,lessadditionalcopies). 31 x ($260 forthefirstprint,lessadditionalcopies)to24 make theprintsarenotavailabletopublic. ties ofQuadrichromieprintssince1952.Thematerialsto or arts fieldfordirectproofingofthedigitaldatafromlaser onto paper,hasfoundsignificantapplicationinthegraphic spraying millionsoftinyinkdropletsinpreciseposition ture withtheselectionofmorestablecolorants. images couldprobablybesignificantlyimprovedinthefu- or pigmentstoformthecolorimage,stabilityof Because thermaldyetransfermaterialsusepreformeddyes initially availablefromthePhoto mer of1992,Ektathermprintswillbetheonlytypeprint age dyesinEktathermprintsareadverselyaffectedby cial introductionoftheKodakPhoto prominent exampleofthistechnology.Withthecommer- (costing between$18,000and$25,000),areperhapsthemost given in light fadingstability. sets availableforuseinIris ink jetprintershadverypoor the timethisbookwenttopress inlate1992,alloftheink prints atNashEditionsinCalifornia). Unfortunately,at cussion oftheuseIrisinkjetprintersformakingfineart technology inthefineartsfield(seepages52–54fordis- support material,therehasbeensignificantinterestinthe to makelargeprintsonalmostanysortofpaperorother fer papersdonothavea and Fujicolorprints,Ektathermotherthermaldyetrans- the discwillbeanEktathermprint. “contact sheet”visualreferencetotheimagesrecordedon CCD Among thecolorprintmaterialsandprocesseslistedin Fresson Quadrichromiepigmentcolorprintsaremade Ink jetprinting,inwhichcolorimagesareformedby Image-life predictionsforthe standardIrisinksetare Unlike conventionalcolormaterialssuchasEktacolor IndexPrintsuppliedwitheachKodakPhoto scanners.Becauseoftheabilityinkjetprinters Table 3.3 (page137)areanumberofnewtechnologiesfor (page137);alsotestedwas aninkset 23 hasbeenproducinglimitedquanti- UV UV XL -absorbing overcoat.Theim- radiation(see 7700-series digitalprinters CD ’s; inaddition,thePhoto CD systeminthesum- 1 ⁄ 2 x3 Figure 3.5 1 ⁄ 2 CD inches asa UV UV ).

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints ity. PolaroidSpectrafilmwasreplacedwith Polaroid 600Plusprintsalsohavepoorlightfadingstabil- tively shortperiod. Innon-accelerated(real-time) tests, develop anobjectionableyellowish overallstaininarela- that indarkstorageatnormal roomtemperatures,they stable indarkstorage.The problemwiththeseprintsis papers. ThedyesinPolaroid instantprintsareextremely prints fadesignificantlyfaster thantypicalchromogenic (High Definition)filmin1991;samplesofSpectra Polaroid InstantColorPrints as thatofFujicolor much betterthanthatofEktacolorprints,butnotasgood cost. ThelightfadingstabilityofCanoncolorcopiesis short-run publicationscanbeproducedquicklyandatlow sufficient qualityforproofs,businesspresentations,and Canon ColorLaserCopier,forexample,photographsof promise asameansofmakingstablecolorprints.Using which usepreformedcolorantstoformimages,showgreat of theseinksprovedtobelittlebetterthantheIrisinkset. jet printerswerealsotested,butthelightfadingstability for largedisplayprints. from anaestheticandfunctionalpointofview,especially veloped forinkjetprinting;theprocesshasmuchtooffer is hopedthatamuchmorelight-stableinksetcanbede- Siemens, whichwasevenlessstablethantheIrisinks.It more stablethantheIrisinks,andaninksetsuppliedby this book;however,theimagestabilityofSpectra not availableintimefor1.35kluxtestdatatobeincluded in is believedtobesimilarthatofpreviousSpectraprints. been storedinverydryconditions. such cracks,especiallyiftheyhave frequently foundtohavedeveloped Early SX-70prints(1972–76)are nal image-receivinglayercracks. in 1973thathasdevelopedinter- A PolaroidSX-70colorprintmade As shownin Electrophotographic orxerographiccolorprints,allof Two inksetsuppliedbyStorkBedfordB.V.for When displayed,PolaroidSpectra, 600Plus,and #89–18 Table 3.3 42% SFA 3 prints. (page137),PolaroidSpectraand cracking andremainsintact. print isnotaffectedbytheinternal sheet thatcoversthetopof ture. Thetransparentpolyester layers oftheprint’sinternalstruc- cracks, whichformintheupper A magnifiedviewoftheimage HD HD prints #89–12 SX were HD -70 45% one copyinthedarkanddisplayother. on Fujicolorcolornegativepaper,atreasonablecost).Keep material (Polaroiditselfoffersgood-qualitycopies,made the bestpolicyistomaketwocopiesonamorestableprint important pictureshavebeenmadeonthesematerials, guerreotypes, eachexposureproducesauniqueimage). If this bookwenttopress. able fromPolaroidorindependentlaboratoriesatthetime ever, specificstaindataforVision95printswerenotavail- reduced rateofyellowishstainingindarkstorage;how- man alsoindicatedthatVision95printshaveasomewhat same asthatofSpectraandHDprints.Thespokes- stability ofVision95printsisexpectedtobeessentiallythe A Polaroidspokesmantoldthisauthorthatthelightfading States andotherpartsoftheworldunderdifferentnames. “Vision 95”camerasandfilmwillbeintroducedintheUnited proved versionoftheSpectraHDprintemulsion.In1993, rope, asmallerformatcameraandfilmemployinganim- print package. siding inthelowerlayersoftightlysealedPolaroid of non-imagedyesand/orotherchemicalconstituentsre- only afewyears.Thestainisproducedbyslowmigration the stainlevelsexceededthisauthor’sd-minlimitsin Polaroid hasmade numerousmisleadingclaims aboutthe made forlong-termdisplay. and shouldbedisplayedwith caution.Copiesshouldbe ing. However,theseprintshave poorlightfadingstability dyes andotherchemicals)is strippedawayafterprocess- prints, thenegativelayer(with itsunusedimage-forming other Polaroidintegralprintsbecauseinthepeel-apart color 2)domuchbetterindarkstoragethanSpectraand Polaroid peel-apartprints(e.g.,Polacolor Polaroid colorprintshavenousablenegative(likeda- In 1992PolaroidintroducedtheVision95systeminEu- Beginning withtheintroduction of layer cracksinSX-70prints. the formationofimage-receiving light apparentlyplaysnorolein induced cracksfoundinRCprints, of anSX-70image.Unlikethelight- often easiertodetectinlightareas Image-receiving layercracksare #89–6 40% SX -70 printsin1972, ER andPola- 124

This document originated at on June 6, 2003 under file name: 125 tably willoccurinthecourseoflong-termdisplay. tions whateveraregivenconcerningthefadingthatinevi- light fadingstabilityoftheseexpensiveprints,andnocau- art forprivateindividuals.Thereisnomentionofthepoor Museum ReplicaCollectionwillalsoreproduceworks of mounted, andframedprintstothepublic.ThePolaroid light.” of effects the from, protected be must and by, aged January 1992,Polaroidstated: “Photographscanbedam- sheet forPolacolor64Tungsten instantprintfilm,dated stability ofitscolorprintmaterials. Inatechnicaldata take amorerealisticpublic stanceregardingtheimage on large-formatPolacolor works ofartintheBostonMuseumFineArtscollection the PolaroidMuseumReplicaCollection,whichreproduces dye stabilityofitsmaterials. Chapter3 The PermanenceandCareofColorPhotographs of othernationalmagazines,Polaroidsaid: page advertisementthatappearedin There aresigns,however,that Polaroidisbeginningto The PolaroidCorporationevenoperatesaservicecalled dyes foundinPolaroid’s color 2filmhasthesameuniquemetallized Museum ofFineArtsinBoston.Now,Pola- “Dolls,” aworkofartrecentlyacquiredbythe result istheremarkablephotographatright, medium isPolaroid’sPolacolorLandfilm.The the creationofherart. the world.Polaroid,choiceofartistin sional andscientificphotographersthroughout phy. Polacolorfilmisusedbyamateur,profes- and faderesistanteverdevelopedinphotogra- brilliant colorsareamongthemostpermanent same exceptionalclarityandstability.Andits 29 Polacolor64 Tungsten,introducedin1992, isa The photographerisMarieCosindas. ER 27 filmandoffersthelacquered, 24–26 SX -70 film.Ithasthe Forexample,inatwo- Newsweek andanumber 28 prints inEurope),Polaroid600 Plusprints,or mend PolaroidSpectra layer crackingisapossibility, thisauthordoesnotrecom- (see Chapter5)andbecause catastrophicinternalimage- after onlyafewyearsofstorageundernormalconditions subject tocrackingexceptunderextremeconditions. the companyhassaidthatimprovementsweremade in tails ofthetestsitusestoevaluateproblem,although has occurredinmanyPolaroid SX SX SX-70 InstantPrints Layer Cracking of Polaroid Internal Image-Receiving ER humidity, thecrackingof instant prints. prints (availableonlyinJapan)orthenow-obsoleteKodak are unaffected,hasnotyetbeenobservedinFujiinstant layer cracksbutthepolyestercoverandbackingsheets tion. Crackingofthistype,inwhichtheinternalimage print materialhavingacompletelynewtypeofdeteriora- the 1970’sisanotherexampleofanentirelynewtype be madewhen theoriginaldeteriorates. color printshavenonegative fromwhichanewprintcan for otherthanshort-termapplications. Polaroidinstant for example).Thereisnoacceptedacceleratedtest (which occursiftheprintissubjectedtodirectsunlight, the lightisaccompaniedbysignificantheatingofprint be influencedbythepresenceorabsenceoflightunless tungsten-balanced derivativeofdaylight-balancedPolacolor -70 printsaround1980andthatthearenolonger -70 cracking.Polaroidhasdeclinedtoreleasethede- Because unacceptablelevelsofyellowstaincanoccur The crackingoftheinternalimage-receivinglayerthat Apparently causedbylowand/orwidelyfluctuatingrelative instantprintfilm. print (see sooner thandidthefluorescent-illuminated actually reacheditsfirstimage-lifelimit sity of0.6,thetungsten-illuminatedprint balance changelimits,andastartingden- ing thisauthor’simage-lifefadingandcolor it didunderfluorescentillumination.Us- faded moreundertungstenilluminationthan from 1.0neutrals.Notethatthecyandye cent tungstenilluminationbydensitylosses klux fluorescentand1.35incandes- Classic) printsinan8-yeartestwith1.35 ester-base IlfordCibachromeII(Ilfochrome Figure 3.25 HD SX prints(calledPolaroidImage Table 3.5 -70 printsdoesnotappearto Acomparisonofglossy,poly- SX -70 printsmadeduring ). SX -70 prints

This document originated at on June 6, 2003 under file name: Speed andKodak Cibachrome IIprints),andthenow-obsoleteAgfachrome- (page 142),IlfordIlfochromeClassicprints(formerlycalled fluorescent illumination.Infact,asshownin of printsarenotsubstantiallydifferentwithtungstenor tion intensities,thefadingratesobservedformanytypes fading. Thisauthor’stestsindicatethatforequalillumina- be displayedwithtungstenilluminationtominimizeimage lengths) ithasoftenbeenrecommendedthatcolorprints UV Chapter3 Incandescent TungstenLamps of ColorPrintsIlluminatedUnder Comparative LightFadingStability Light FadingStabilityofDisplayedColorPrints lete Agfachrome-Speedand Kodak also appearstobetrueofthe cyandyesinthenow-obso- primary absorptioninthered portionofthespectrum.This cause fadingoftheIlfochrome cyandye,whichhasits energy ofredlightislow, it isapparentlysufficientto Cool Whitefluorescentlight. Althoughthephotochemical tionally higherredcontentintungstenilluminationthan in tests. Themostlikelyexplanationforthisisthepropor- nation ofthesame1.35kluxintensityin10-year,low-level tungsten illuminationthanitdidunderfluorescentillumi- Figure 3.25 sten lightthantheydidwithfluorescent. other materials,actuallyfadedmorerapidlyundertung- sometimes controversialsubject.) to Chapter7and17forfurtherdiscussionofthis nals arepreservedincoldstorage.(Thereaderisreferred tuted forlong-termor“permanent”displaywhiletheorigi- rial pointofview,facsimilecolorcopyprintscanbesubsti- event, and,whereitisdeemedacceptablefromacurato- to progressbeyondpre-setlimits. in thecollection.Fadingandstainingmustnotbeallowed larly monitorthefading/stainingofcolorphotographs nation formuseumexhibitsandatthesametimetoregu- author believesthatitisbettertoprovideadequateillumi- tographs belowwhichfadingdoesnottakeplace,andthis graphs. for properviewingofphotographs,especiallycolorphoto- this authorfeelsthatistheminimumlevelacceptable illumination levelthanmanyconservatorsrecommend,but of 300lux(28fc)for12hoursaday.Thisishigher archives, thisauthorhasadoptedanilluminationintensity with incandescenttungstenilluminationinmuseumsand data (seeChapter2). make display-lifeextrapolationsfromtheacceleratedtest Home andCommercialUse”criteriahavebeenincludedto age characteristics,andthemoretolerantsetof“General chive Use”criteria,whichallowsverylittlechangeinim- this table,boththestrictsetof“CriticalMuseumandAr- eas areusuallyilluminatedsolelywithtungstenlamps.In mary interesttomuseumsandarchiveswheredisplayar- nated withincandescenttungstenlamps.Thisisofpri- Most ofthelight towhichdisplayedphotographs are Table 3.4 In thecaseofIlfordIlfochromeClassic,asshownin Because incandescenttungstenilluminationhasalow Display oforiginalswillhavetoberestrictedinany There isnominimum“safe”illuminationforcolorpho- To reportimage-lifepredictionsforcolorprintsdisplayed andbluecontent(themostphotochemicallyactivewave- , thecyandyefadedsignificantlymoreunder givesimage-lifepredictionsforprintsillumi- PR 10 instantprints,alongwithseveral PR 10 instantprints. Table 3.5 sheet ofglassorplastictoabsorbshort-wavelength of colormaterialsthatlacka photographs (especiallyKodakEktathermandothertypes of skincancerinhumans. tungsten halogenilluminationmayalsoincreasetherisk tion belowabout330nm. case withthehigh-intensity 21.5kluxfluorescent testsre- riod), muchlongertestperiods wererequiredthanwasthe light testwasonly0.78klux (averagedovera24-hourpe- cause theaverageillumination intensityinthisnorthday- gion. Such ergy inboththelong-andshort-wavelengthultravioletre- this reasonbare-bulbhalogenlampsemitsignificanten- parent tomuchshorterwavelengthsthanisglass,andfor bulb usedinincandescenttungstenlamps.Quartzistrans- lamps aremadewithaquartzbulbinsteadoftheglass than incandescentlamps. 17). Halogenlampsalsolastlongeranduselesselectricity fore producea“whiter”light(seediscussioninChapter higher colortemperaturethanincandescentlampsandthere- have becomepopularbecausetheyoperateatasomewhat mercial buildings,andhomes.Tungstenhalogenlamps lamps) areincreasinglyfoundinmuseums,galleries,com- and KodakEktacolorPlusProfessionalpapers). the datain nitude ofthesedifferencesisgenerallysmall(e.g.,referto direction anddegreeofcolorbalancechange,butthemag- tensity. Therearesomedifferencesinfadingrateandthe fluorescent andtungstenilluminationofthesameluxin- most casescolorprintsfadeataboutthesamerateunder nation studies,asshownin small. bution totheoveralllightfadingofaprintisrelatively such lowintensityand/orhoursofdurationthatitscontri- other thanmuseumdisplay,tungstenlightisusuallyof through windowglassorlightfromfluorescentfixtures.In exposed inhomesandofficesiseitherindirectdaylight UV Prints Illuminated withNorthDaylight Comparative LightFadingStabilityofColor radiation apparentlyeliminatessuchrisk. from ultravioletradiationwith a true evenwhenprintsexposed tonorthdaylightareshielded than iseitherfluorescentor tungsten illumination.Thisis mination isinmostcasesmoreharmfultocolorprints Tables 3.2 with thepredictionsgivenin cent light. protective glassorplasticcoverthatwillabsorb this reason,halogenlampsshouldalwaysbefittedwitha contains asignificantlyhigherpercentageofbluelightand this isa“worst-case”displaysituation.Northdaylight window glass.Withtheprintslocatedclosetowindow, types ofcolorprintsexposedtonorthdaylightthrough Table 3.6 Recent studieshaveshownthatexposuretobare-bulb To withstandtheirhighoperatingtemperature,halogen Tungsten halogenlamps(alsocalledquartz The surprisingconclusionoftheseincandescentillumi- In comparingtheimage-lifepredictionsinthistable radiationthaneithertungstenorglass-filteredfluores- and Table 3.5 (page143)givestherelativestabilityofmany UV radiationcanbeverydamagingtocolor 3.3 , itcanbeseenthatnorthdaylightillu- forKonicaColorPCPaperType 30 Table 3.5 Coveringthelampswitha UV Tables 3.1b -absorbing overcoat).For UV -absorbing filter.Be- (page142),isthatin and UV 3.1c radia- , and UV SR 126

This document originated at on June 6, 2003 under file name: 127 in thisnorthdaylighttestbecause ness of incident illumination.Because ofthis,theactualeffective- floors, whichreflecttotheprintasignificantportion of absorbed bymostpaintedsurfaces,walls,ceilings,and h emnneadCr fClrPoorpsChapter 3 The PermanenceandCareofColorPhotographs UV slowing therateoffading. cates thepossibleeffectivenessofanultravioletfilter in another underthisdisplaycondition;thetestalsoindi- information onthestabilityofonetypeprintversus during theearlyyearsoftest. tainty aboutwhattheaverageilluminationactuallywas the lastfewyearsofthis10-yeartest,thereissomeuncer- for measuringtheaccumulatedilluminationonlyduring tion, becauseanintegratinglux-hourmeterwasavailable many ofthematerialsinnorthdaylighttest.Inaddi- ably contributedtotheshorterimage-lifepredictionsfor ported earlierinthischapter.Reciprocityfailuresprob- which mostprints displayedinpublicbuildings willbesub- data onprintfading,saying, “It’sthetypeofenergyto fluorescent lightastheilluminate formostofitspublished ably belessthanindicatedby thistest. In mostdisplaysituations,therelativepercentageof The northdaylighttestdoes,however,providevaluable Eastman Kodakhasusedfiltered CoolWhiteDeluxe RC print beneaththeemulsion.The coated onthepapercoreof cracking ofthethinwhite print thathassufferedlight-induced A KodakEktacolor photograph byMaxBrown) framed underglass.(Originalcolor print hadbeendrymountedand mal conditionsinahome.The about 6yearsofdisplayundernor- developed thecracksafteronly This print,whichwasmadein1970, pigmented withtitaniumdioxide. radiationislessthanwhattheprintswereexposedto layerismadeofpolyethylene UV #115–2 filtersinnormaldisplayconditions willprob- 36% RC (resin-coated) RC layer UV radiationislargely chrome in Agfacolor,Ektachrome,andCiba- similar light-induced cracking. Thisauthorhasobserved 1974 untiltheearly1980’s. also sufferedlight-induced been lacqueredhaveinmanycases prints fromthetimethathadnot been lacquered.SimilarEktacolor fessional portraits,thisprinthad significant fading.Likemostpro- appeared, theprinthadalsoshowed cracked print.Bythetimecracks A magnifiedviewofpartthe RC #115–5 printsmadefromabout 36% additional discussionofthestructure exposure toevenlow-levellightduringnormaldisplay(for nium dioxide-pigmentedpolyethylenelayerasaresult of the embrittlementandsubsequentcrackingoftita- — alsointroducedanentirelynewtypeofdeterioration: ene-resin-coated) papersoldinthegeneralconsumermarket came awareofevenbeforethefirst only afewyearsofdisplay—somethingthatKodakbe- print islikelytoseeinmostapplications.” the cracksfound in Such cracks,whicharenotlight-induced, aredifferentfrom of cyclingrelativehumidityduring storageand/ordisplay. could, however,developemulsion cracksasaconsequence subject tothistypeofcracking. (Fiber-basecolorprints 20 wash, anddrythando“waterproof” Professional Paper,whichtook muchlongertoprocess, the market.Previousfiber-basepaperssuchasEktacolor Problem withEarlyRCColorPapers Light-Induced RCPaperCracking—ASerious jected. Simulateddaylightsourceshavemore light-induced RC Many oftheseearly The introductioninSeptember1968ofKodakEktacolor RC cracking Paper—thefirstquick-processing RC layer RC papercracking,seeChapter17). RC papers.) B&W (see discussionoftheproblems tion andfadingofthesilverimage suffer fromlight-induceddiscolora- the develop light-inducedcrackingof Black-and-white protected fromlightbyaframe. where theedgeofprintwas the crackingof fied viewoftheedgeprint: this printisevidentinmagni- was thecauseofcracking That prolongedexposuretolight RC RC printsdevelopedcracksafter

RC layer;inaddition,theymay printsinChapter17). #115–7 RC 36% RC paperswereputon RC RC papers,werenot printsmayalso RC layerstopped RC papersand (polyethyl- UV thana

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints ments inthe pose Kodakcolorandblack-and-white introduced, butitisassumed thatby1980allgeneral-pur- resistance toembrittlementandcracking. polyethylene layers,therebysignificantlyincreasingtheir ture; overtimethestabilizerdiffusesintoadjacent ventional papercoreinthecenterof with apolyethylenestabilizerincorporatedintothecon- print stability standard thatwillinclude an accelerated Institute subcommitteeisdeveloping anewblack-and-white By about1977Kodakstartedtomanufacture print couldbedisplayedbeforecracksstartedtodevelop. stability of converted tothenew As yetthereisno During the1970’s,Kodakmadeanumberofimprove- Kodak willnotsaywhenthisimprovementwasactually Eastman Kodakregardingtheseissues(seeChapter8). Kodak toimprovethestabilityofitscolorfilmsandpapers.Theywerealsoinvolvedinaclass-actionlawsuitagainst Cracked PhotographsoftheWisconsinProfessionalPhotographersAssociation,hadpreviouslycirculatedapetitionasking Wisconsin, Minnesota,NorthDakota,andSouthDakota.TheFehrenbachs,whofoundedtheCommitteeonFaded many hundredsoffadedandcrackedEktacolor Wisconsin ProfessionalPhotographersAssociation,heldinMilwaukee,Wisconsin.Onthetableareaselectionfrom the problemwithphotographersattheir“FadedandCrackedPhotographs”boothduring1981annualconventionof wedding photographers.Here,RobertandBerniceFehrenbachofStudiosinReedsburg,Wisconsindiscuss The rapidcrackingandfadingofEktacolor RC RC papers,butanAmericanNational Standards paperbasewhichlengthenedthetimea ANSI RC base. standardfortestingthephysical RC papershadbeen RC RC paperstruc- printsinthe1970’spresentedamajorproblemforprofessionalportraitand RC RC paper printsthatdisgruntledcustomershadreturnedtoportraitstudiosin cability ofsuchteststothemanydifferenttypes should alsobeapplicabletocolor the test procedureforblack-and-white lished anydetailsoftheir Mitsubishi, Konica,andother manufacturershadnotpub- pendent laboratories. papers nowonthemarkethasyettobeconfirmedbyinde- since the1970’sforevaluatingstabilityof standard isexpectedtobepublishedin1994. temperature ofthetestprints. which theeffectsoflightareacceleratedbyincreasing bility characteristics ofthesepapers. probable thattherearesignificant differencesinthesta- each otherandtoKodakpapers isnotyetknown.It At thetimethisbookwent to press,Fuji,Agfa,Ilford, Kodak hasdescribedatestthecompanybeenusing RC paperssuppliedbythesecompanies compareto RC -base testprocedures;how 31 Unfortunately,theappli- RC RC prints;thetestmethod prints.Thenew RC papersin ANSI RC

February 1981 128

This document originated at on June 6, 2003 under file name: 129 unlike thesituationwithsomeofearlier current chromogenic and stainingthathasafflictedsomechromogenic Gloss PrintingMaterialovertheir papers indicatethatthedarkstoragestabilityofthese cracks developinginthe will haveoccurredwellbeforethereisanylikelihoodof under normalindoordisplayconditions,significantdyefading during thecourseofdisplay,availabledataindicatethat, light-induced ester-base printmaterialssuchasFujiflex support materialsisreasonablygood. Is NoLongerASeriousConcern Displayed ColorPrints, RC BaseCracking Compared withtheProblemofDyeFadingin Notes andReferences and remainedfreeofstain(seeChapter2). base versionofCibachromeIIwasnotaffectedinthismanner a moderateacceleratedlightfadingtest;thepolyester- lowish stainafterseveralyearsofstorageinthedark were testedbythisauthordevelopedseriousoverallyel- (now calledIlfochromeClassicprints)madein1980which avoids thepotentialproblemof when maximumstabilityisdesired.Apolyesterbasealso the presentIlfochrome be usediflong-termstorageiscontemplated. is recommendedthatthepolyester-basetypesofIlfochrome tremely longlifeoftheseprintswhenstoredinthedark,it glossy, solidpolyestersupport.Giventhepotentiallyex- Ilfochrome arerecommended. maximum stabilityisdesired,thepolyester-basetypesof cost, erated darkstoragetestswithavarietyofrecent can confirmthis).Thisauthor’ssingle-temperatureaccel- prints ondisplayandstoredinavarietyofenvironments long-term testingandexperienceinthecomingyearswith link intheoverallstabilityoftheseproducts(althoughonly the when storedinthedark—demandsonstabilityof improved —andtheimageslastlongerondisplayand/or papers. Asthedyestabilitiesofcolorprintmaterialsare h emnneadCr fClrPoorpsChapter3 The PermanenceandCareofColorPhotographs .AmericanNationalStandardsInstitute,Inc., 3. .SusanRoman,“Koch’sOfficialPortrait:APhoto,”PDNews, 2. .EastmanKodakCompany,“MerrettT.Smith,” 1. .EastmanKodakCompany, 5. .“AgfaCommittedToFinishers, GerlachSays,” 4. Considering thefactthatcolorimagedyesinall Given thechoice,however,thisauthorrecommendspoly- Furthermore, thelong-termdisplaycharacteristicsof Ilford Ilfochromematerialsaresuppliedbothonalow- graphic Images–MethodsforMeasuring, National StandardforImagingMedia–StabilityofColorPhoto- District News, Issue No.1,1986,p.7. Photography Marketing, andCharletonBard,ImageStability Techni- publication isbasedonapresentation byPaulM.Ness,Professional Kodak PublicationCIS62,February 1982.Thematerialinthis Affect ImageStabilityofPrints onKodakEktacolorPaper, 30, No.10,April15,1985,p.12. telephone: 212-642-4900(Fax:212-398-0023). Institute, Inc.,11West42ndStreet, NewYork,York10036; Standard maybepurchasedfromtheAmericanNationalStandards Standards Institute,Inc.,NewYork,1991.Copiesofthe RC RC basewillalsoincrease. baseandonamoreexpensivehighlystable RC Vol.IX,IssueXIV,December1989,p.18. basecrackingisnolongertheweakest RC RC printsaresubjecttolightfading RC How Post-ProcessingTreatment Can basearenotnowknown,andif paperbase.Inotherwords, RC RC -base CibachromeIIprints base-associatedfading RC ANSI IT9.9-1990,American -base counterparts Kodak StudioLight, Photo Weekly, AmericanNational SFA RC RC 3 Super- RC papers, color color Photo Vol. RC 5 PhotofinishingNews,Inc.,“PhotoProcessing–NorthandSouth 15. 1 StantonAndersonandRonaldGoetting[EastmanKodakCompany], 11. 4 EastmanKodakCompany, 14. StantonI.AndersonandRichardJ.[EastmanKodakCom- 13. 2 EastmanKodakCompany, 12. 8 DavidB.LaClaire,“Marketing UltraStablePortraitPrints,” 18. WilliamNordstrom, “InSearchofPermanence:500-Year-LifeUltraStable 17. TadahisaSato,MasakazuMorigaki,andOsamuTakahashi[FujiPhoto 16. 0 IlfordPhotoCorporation, 10. .FujiPhotoFilmCo.,Ltd., 9. .FujiPhotoFilmCo.,Ltd., 8. BobSchwalberg,withHenryWilhelmandCarolBrower,“Going! 7. AmericanNationalStandardsInstitute,Inc.,seeNoteNo.3,p.16. 6. Report, America,” Finisher, Ektacolor PlusandProfessionalPapersforthe quent CIS-50seriesdye-stabilitydatasheetsthrough1985; Products, 9090; Fax:703-642-9094. 7003 KilworthLane,Springfield,Virginia22151;telephone:703-642- published byTheSocietyforImagingScienceandTechnology(IS&T), ary 20,1990,“AdvancePrintingofPaperSummaries,”pp.80–81; sium onPhotofinishingTechnology, in Homes,”papergivenatthe pany], “AStudyofLightingConditionsAssociatedwithPrintDisplay tographic Products Kodak Company, cusses testmethodsforbothfilmsandprints.Seealso:Eastman concerned withtheimagestabilityofKodachromefilm,italsodis- Rochester, NewYork14650.Althoughthispublicationisprimarily Kodak PublicationE-105,March1988,EastmanCompany, (Figure 24,p.113). based onanilluminationintensityof100luxfor12hoursperday the predictedfadingofKodakEktacolorPlusPaperin“displayyears,” 4, August1988,pp.111–116.Thisarticlecontainsagraphshowing ucts,” “Environmental EffectsontheImageStabilityofPhotographicProd- Cat. No.7929-RMI895M,1988,p.6. Display PrintMaterialsandFilms, sional Photographer 2159, April1992,pp.34–36. Color Photographs,” 9090; Fax703-642-9094. 7003 KilworthLane,Springfield,Virginia 22151;telephone:703-642- published byTheSocietyforImaging ScienceandTechnology(IS&T), ary 20,1990,“AdvancePrintingof PaperSummaries,”pp.68–70; sium onPhotofinishingTechnology, Super FA,”papergivenatthe Improved ColorSaturationandDyeImageStability–FujicolorPaper Photo FilmCo.Ltd.,Japan],“NewTypeColorPrintPaperwithan Takahashi, T.Sato,K.Hasebe,N.FurutachiandOgawa[Fuji The SocietyforImagingScienceandTechnology.Seealso:O. ogy, Seventh InternationalSymposiumonPhotofinishingTechnol- Stability –FujicolorPaperSuperFAType3,”presentationat Film Co.,Ltd.],“NewTypeColorPaperwithExceptionalDyeImage telephone: 813-992-4421;Fax:813-992-6328. 1091, 10915BonitaBeachRoad,Springs,Florida33923; (89.7-OB-5-6), July1989,p.6. “Fuji FilmDataSheet–ColorReversalPapers,”Ref.No.AF3-638E for Type34paper,introducedin1986: 12 hoursaday”displayconditioninmakingimage-lifepredictions 1), January1992,p.8.Fujihadearlierusedthesame“1,000luxfor Data Sheet–ColorReversalPapers,”Ref.No.AF3-718E(92.1-OB-3- (92.1-OB-5-1), January1992,p.7. “Fuji FilmDataSheet–ColorNegativePapers,”Ref.No.AF3-723E papers, introducedin1992: predictions foritsimproved-stabilityFujicolorSuperFAType3(SFA3) a day”displayconditionwasalsousedbyFujiinmakingimage-life (90.2-OB-10-1), February1990,p.7.Thesame“500luxfor12hours “Fuji FilmDataSheet–ColorNegativePapers,”Ref.No.AF3–661E tion” thatisusedinthisbook. based onthe450luxfor12hoursperday“standarddisplaycondi- “years ofdisplay”image-lifepredictionsforcolorprintmaterials 1990, Vol.97,No.6,pp.37–49,60.ThearticleincludedWilhelm’s Do theOnesYouUseStackUp?”, Going!! Gone!!!–WhichColorFilmsandPapersLastLongest?How tion, Oconomowoc,Wisconsin. 1982 meetingoftheWisconsinProfessionalPhotographersAssocia- cal Center,EastmanKodakCompany,givenattheFebruary28, LasVegas,Nevada,February3–5,1992.SponsoredbyIS&T– Journal ofImagingScienceandTechnology, Chapter2,p.1(1991).PhotofinishingNews,Inc.,Suite KodakPublicationNo.E-18,March1986. KodakPublicationNo.CIS-50,January1981,andsubse- The 1991InternationalPhotoProcessingIndustry Evaluating ImageStabilityofKodakColorPho- , KodakPublicationCIS-130,March1991. Professional Photographer , Vol.119,No.2159, April1992,p.36. Fujicolor ProfessionalPaperSuperFA Image-Stability Data:KodachromeFilms, Mounting andLaminatingCibachrome Evaluating DyeStabilityofKodakColor Fujichrome PaperType35 Fujicolor PaperSuperFAType3 SPSE SixthInternationalSympo- SPSE SixthInternationalSympo- ” (TechnicalInformationManual), Popular Photography, Fujichrome PaperType34 LasVegas,Nevada,Febru- LasVegas,Nevada,Febru- , Vol.119,No. Vol.14,No. , “FujiFilm Profes- IS&T’s Kodak June , , ,

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter3 Light FadingStabilityofDisplayedColorPrints 0 WarrenE.Leary,“NewStudyOffersMoreEvidenceLinkingCancer 30. PolaroidCorporation,“ThisPolacolorphotographwas 27. PolaroidCorporation,“ThisSX-70photographispartofthe 26. 9 PolaroidCorporation, 29. PolaroidCorporation,“The‘PrivateWorks’ofJohnSingerSargent,” 28. Klaus B.Hendriks,togetherwithBrianThurgood,JoeIraci,Lesser, Etsuo FujiandHidekoFuji,“EvaluationoftheStabilityThermalDye Additional References H. G.Rogers,M.Idelson,R.F.W.Cieciuch,andS.Bloom 25. PolaroidCorporation, 24. AtelierMichelFresson,21ruedelaMontagnePavee,91600Savigny- 23. EverColor Corporation,576PowersDrive,ElDoradoHills,California 22. Henry Wilhelm,“TheLight-FadingStabilityofPolaroidPermanent- 21. Linda Tien,“LastingImpressions–AtAtaraxiaStudio,ImagesAre 20. Spencer GrantandElizabethForst,“CarbroPrinting:Backtothe 19. 1 T.F.Parsons,G.Gray,andI.H.Crawford,“ToRCorNotToRC,” 31. to HalogenLamps,” Polaroid PublicationNo.PP1401(PID#1B5582),January1992,p.6. magazines, including tion. ..”,two-pageadvertisementthatappearedinanumberof acquired byBoston’sMuseumofFineArtsforitspermanentcollec- Vol. 53,No.11,May2,1977. that appearedinseveralmagazines,including collection oftheMuseumModernArt,”two-pageadvertisement gland. Royal PhotographicSocietyonSeptember20,1973inLondon,En- Colour PhotographicRecords”organizedbytheGroupof This paperwaspresentedatasymposiumon“TheConservationof postmarked July23,1987. The PolaroidMuseumReplicaCollection can Canada M4S2P5;telephone:416-322-5113;Fax:416-484-9512. from LugusProductionsLtd.,48FalconStreet,Toronto,Ontario, Canada andtheCommunicationGroup,1991.Available Lugus PublicationsincooperationwiththeNationalArchivesof tals ofPhotographicConservation:AStudyGuide and GregHilloftheNationalArchivesCanadastaff, ary 1992,pp.29–36. Imaging ScienceandTechnology Transfer VideoPrintsbyAcceleratedFadingTests,” The [Polaroid Corporation],“LightStabilityofNewPolaroidColourPrints,” TS/DA, December1979. nology ofPolaroidPhotographicProducts Orge, France;telephone:(33)-1-996-1260. 95762; telephone:916-933-3403. York, June17–20,1990. seum ofPhotographyatGeorgeEastmanHouse,Rochester,New Science andTechnology(IS&T)heldattheInternationalMu- on ImageConservation Color Prints,”presentationatthe gan), March1992,pp.1&4. by thePhotoMarketingAssociationInternational,Jackson,Michi- Made toStandtheTestofTime,” Globe Mark Wilson,AColorProcessThatWon’tFadeAway,” True,” 98–100. Seealso:JohnDurniak,“ColorAlmostTooGoodtoBe Future,” Spring 1979,pp.110–117. Journal ofAppliedPhotographicEngineering, , Vol239,No.2,August1978. Journal ofPhotographicScience, , May17,1992. The NewYorkTimes Photo DistrictNews The NewYorkTimes Newsweek Polacolor 64TungstenInstantPrintFilms The FirstThirtyYears,1948–1978:AChro- , sponsoredbyTheSocietyforImaging , December6,1992,p.Y27.Seealso: , Vol.XII,IssueII,February1992,pp. , May9,1977,and Specialty LabUpdate Third InternationalSymposium , Vol.36,No.1,January–Febru- Vol. 22,1974,pp.138–142. , April16,1992,p.A12. , promotionalliterature , PolaroidCatalogC7 The NewYorker, Scientific Ameri- Vol.5,No.2, , publishedby The Boston Fundamen- Journal of (published , ( Tables 3.1a through 3.6 onfollowingpages) 130

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Table 3.1a Comparative Light Fading Stability of Current Process RA-4 Compatible Papers for Printing Color Negatives

All of these papers were available at the time this book went to press in 1992.

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc) with Cool White fluorescent lamps. With these color papers, all of which have effective UV-absorbing emulsion overcoats, generally similar behavior may be expected with indirect daylight and incandescent tungsten illumination in typical indoor display situations. These predictions are based on equivalent light exposures in accelerated tests at 21.5 klux (2,000 fc) at 75°F (24°C) and 60% RH.

Initial neutral density of 0.6 with full d-min corrected densitometry. Letters inside parentheses ( ) following number of years indicate the first image-life fading limit reached: (–C) = cyan dye; (–M) = magenta dye; (–Y) = yellow dye. (C–M) means, for example, that the color-balance change limit between cyan and magenta was reached first, with the magenta dye fading more than the cyan dye.

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Paper Glass Filter (Bare Bulb) Type of Color Paper Glass Filter (Bare Bulb)

Fujicolor Paper Super FA Type 3 54.4 (–M) 57.3 (–M) 38.2 (–M) Ilford Ilfocolor Deluxe Print Material [polyester] 17.5 (–M) 17.7 (–M) 16.9 (–M) Fujicolor SFA3 Professional Portrait Paper (ILRA.1K high-gloss polyester-base print [tentative] [tentative] [tentative] Fujicolor Professional Paper SFA3 Type C material manufactured by Ilford in Switzerland Fujicolor Supreme Paper SFA3 with emulsion components supplied by Konica; stability is believed to be similar if not identical to Fujiflex SFA3 Super-Gloss Printing Material [polyester] Konica Color QA Super Glossy Print Material Type A3.) Fujicolor Peel-Apart Paper SFA3 (1991— ) Fujicolor Thin Paper SFA3 (“Fujicolor Print”) Agfacolor Paper Type 9 15.3 (–M) 15.9 (–M) 15.2 (–M) (1993— for low-contrast SFA3 Professional Portrait Paper) Agfacolor Paper Type 9i [improved] (1992— for other papers) (“Agfacolor Print”) (1988–92 for Type 9; 1992— for Type 9i) Fujicolor Prof. Paper Super FA Type P 24.0 (–M) 24.8 (–M) 20.5 (–M) (1991–93) (low-contrast professional portrait paper) Konica Color QA Paper Type A5 13.2 (–M) 13.2 (–M) 12.7 (–M) (Konica Color “Century Paper” or “Century Print”) Konica Color QA Paper Type A3 17.5 (–M) 17.7 (–M) 16.9 (–M) (Konica Color “Long Life 100 Print”) Konica Color QA Paper Professional Type X2 (1990— ) (initially available only in Japan) Konica Color QA Super Glossy Print Kodak Ektacolor Edge Paper 12.1 (–M) 12.8 (–M) 11.9 (–M) Material Type A3 [polyester] Kodak Ektacolor Portra II Paper Konica Color QA Paper Peelable Type A3 Kodak Ektacolor Royal II Paper (Konica Color “Century Paper” or “Century Print”) (Konica Color “Long Life 100 Print”) Kodak Ektacolor Supra Paper (1991— ) Kodak Ektacolor Ultra Paper Kodak Duraflex RA Print Material [polyester] Mitsubishi Color Paper SA 2000 [improved] 17.5 (–M) 17.7 (–M) 16.9 (–M) (“Ektacolor Print”) Mitsubishi Color Paper SA 5000 Pro [improved] [tentative] [tentative] [tentative] (“Kodalux Print”) (papers are believed to be identical to (1991— for Ektacolor Edge and Royal II) Konica Color QA Type A3 and X2 papers) (1992— for Ektacolor Portra II) (improved types: 1992— ) (1989— for other papers)

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter 3 Light Fading Stability of Displayed Color Prints

Table 3.1b Comparative Light Fading Stability of Current Process EP-2 Compatible Papers for Printing Color Negatives

All of these papers were available at the time this book went to press in 1992. It is likely that many of these papers will have been discontinued by the end of 1994 in favor of faster-processing RA-4 papers.

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc) with Cool White fluorescent lamps. With these color papers, all of which have effective UV-absorbing emulsion overcoats, generally similar behavior may be expected with indirect daylight and incandescent tungsten illumination in typical indoor display situations. These predictions are based on equivalent light exposures in accelerated tests at 21.5 klux (2,000 fc) at 75°F (24°C) and 60% RH. Initial neutral density of 0.6 with full d-min corrected densitometry.

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Paper Glass Filter (Bare Bulb) Type of Color Paper Glass Filter (Bare Bulb)

Fujicolor Paper Type 12 21.3 (–M) 22.4 (–M) 21.0 (–M) Mitsubishi Color Paper KER Type 6000 Super 13.1 (–M) 13.1 (–M) 12.1 (–M) Fujicolor “Minilab Paper” Mitsubishi Color Paper KER Type 8000 Pro (“Fujicolor Print”) (papers are believed to be identical (Type 12 paper generally is to Konica Type SR and EX papers) not available outside of Japan) (1985— for Type 6000 Super) (1985— ) (1989— for Type 8000 Pro)

Fujicolor Paper Type 03 15.8 (–M) 16.8 (–M) 14.3 (–M) Ilford Colorluxe Print Material [polyester] 13.1 (–M) 13.1 (–M) 12.1 (–M) Fujicolor “Minilab Paper” (IL.1K high-gloss polyester-base print material is manufactured by Fujicolor Professional Paper Type 02-P Ilford in Switzerland using emulsion Fujicolor Paper Type 02-C components supplied by Konica; Fujicolor HR Printing Material [polyester] the stability of the Ilford product is (“Fujicolor Print”) believed to be similar if not identical (“Fujicolor SuperGloss Print”) to Konica Color Paper Type SR [SG] (“Fujicolor HR Super Deluxe Print”) polyester-base print material.) (1988— ) (1990–) Konica Color PC Paper Type SR 13.1 (–M) 13.1 (–M) 12.1 (–M) Kodak Ektacolor Plus Paper 11.8 (–M) 11.7 (–M) 11.7 (–M) Konica Color PC Paper Prof. Type EX Kodak Ektacolor Plus Thin Paper Konica Color PC Paper Type SR (SG) [polyester] Kodak Ektacolor Professional Paper Konica Color PC Paper Peelable Type SR Kodak Duraflex Print Material [polyester] (Konica Color “Century Paper” or “Century Print”) (“Ektacolor Print”) (Konica Color “Century ProPrint Type EX”) (“Kodalux Print”) (Konica Color “Long Life 100 Print”) (formerly “Kodacolor Print”) (Konica Color “Peerless Print”) (1984 [August]— for Ektacolor Plus) (in Japan, Konica Color Paper Type SR was (1985— for Ektacolor Professional) originally called Sakuracolor PC Paper Type SR) (1984 [April]— for Type SR) Agfacolor Paper Type 8 [improved] 11.5 (–M) 11.7 (–M) 11.7 (–M) (1984 [July]— for Type SG) Agfacolor Paper Type 8 ML (1987— for Type EX ) (“Agfacolor Print”) (1988— for Peelable Type SR) (1986— ) 132

This document originated at on June 6, 2003 under file name: 133 h emnneadCr fClrPoorpsChapter 3 The Permanence and Care of Color Photographs Table 3.1c Comparative Light Fading Stability of Discontinued Process EP-2, EP-3, and RA-4 Compatible Papers for Printing Color Negatives

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc) with fluorescent lamps. These predictions are based on equivalent light exposures in accelerated tests at 21.5 klux (2,000 fc) at 75°F (24°C) and 60% RH. Initial neutral density of 0.6 with full d-min corrected densitometry.

Additional “dark fading” changes that slowly occur with many of these papers during normal long-term display are not considered in these predictions. In particular, the fading observed in displayed prints made with Agfacolor PE Paper Type 4 paper usually consists largely of “dark fading” changes, with light fading making a much smaller contribution to the total change. Agfacolor Type 4 paper, in use from 1974 until 1982, has astonishingly poor dark fading stability.

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Paper Glass Filter (Bare Bulb) Type of Color Paper Glass Filter (Bare Bulb)

Fujicolor Paper Super FA Type II 24 (–M) 25 (–M) 21 (–M) Mitsubishi Color Paper SA 2000 17 (–M) 18 (–M) 17 (–M) Fujicolor Supreme Paper Mitsubishi Color Paper SA 5000 Pro [tentative] [tentative] [tentative] Fujicolor Professional Paper Super FA Type C (Mitsubishi “Speed Access” Paper) Fujiflex SFA Super-Gloss Printing (Mitsubishi “Rapid Access” Paper) (papers are believed to be identical to Material [glossy polyester base] Konica Color QA Type A2 and X1 papers) (“Fujicolor Print”) (RA-4) (initial type: 1989–92 for SA 2000) (RA-4) (1990–92 for Super FA Type II) (initial type: 1990–92 for SA 5000) (1990–92 for Supreme) (1991–92 for Super FA Type C) (1991– 92 for Fujiflex SFA) Mitsubishi Color Paper KER Type 1000 SA 17 (–M) 18 (–M) 17 (–M) (Mitsubishi “Speed Access” Paper) [tentative] [tentative] [tentative] (Mitsubishi “Rapid Access” Paper) Fujicolor Paper Super FA 24 (–M) 25 (–M) 21 (–M) (paper is believed to be identical (“Fujicolor Print”) to Konica Color QA Paper Type A) (initial type: 1989–90) (RA-4) (1988–89) (RA–4)

Konica Color QA Paper Type A2 17 (–M) 18 (–M) 17 (–M) Ilford Colorluxe Print Material [polyester] 17 (–M) 18 (–M) 17 (–M) Konica Color QA Paper Professional Type X1 (SP-729s high-gloss polyester-base [tentative] [tentative] [tentative] Konica Color QA Super Glossy Print print material manufactured by Ilford Material Type A2 [glossy polyester base] in Switzerland using emulsion components Konica Color QA Paper Peelable Type A2 supplied by Konica; the stability of the (Konica Color “Century Paper”) Ilford product is believed to be similar if (Konica Color “Century Print”) not identical to Konica Color QA Super (Konica Color “Long Life 100 Print”) Glossy Print Material Type A2.) (1988–92 for Type A2) (RA-4) (initial type: 1990–91) (RA-4) (1990–92 for other papers) Fujicolor Paper Type 02 14 (–M) 15 (–M) 14 (–M) Konica Color QA Paper Type A 17 (–M) 18 (–M) 17 (–M) Fujicolor “Minilab Paper” (Konica Color “Century Paper”) Fujicolor Professional Paper Type 01-P (Konica Color “Century Print”) Fujicolor HR Printing Material [glossy polyester base] (Konica Color “Long Life 100 Print”) (“Fujicolor Print”) (initial type: 1988–89) (RA-4) (1985–88) (EP-2)

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter 3 Light Fading Stability of Displayed Color Prints Table 3.1c (continued from previous page)

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Paper Glass Filter (Bare Bulb) Type of Color Paper Glass Filter (Bare Bulb)

Fujicolor Paper Type 8901 14 (–M) 14 (–M) 13 (–M) Kodak Ektacolor 74 RC Paper Type 2524 10 (–M) 10 (–M) 9 (–M) (“Fujicolor Print”) Kodak Ektacolor 78 Paper Type 2524 (1984–86) (EP-2) (“Ektacolor Print”) (“Kodacolor Print”) Mitsubishi Color Paper KER Type 7000 Pro 13 (–M) 13 (–M) 12 (–M) (1982–86) (EP-2) (paper is believed to be identical to Konica Type EX paper) Agfacolor PE Paper Type 8 10 (–M) 9 (–M) 8 (–C) (1985–89) (EP-2) (“Agfacolor Print”) (initial type: 1984 [October]–86) (EP-2) Kodak Ektacolor 2001 Paper 13 (–M) 13 (–M) 12 (–M) Kodak Ektacolor Portra Paper Agfacolor PE Paper Type 7i 10 (–M) 10 (–M) 9 (–M) Kodak Ektacolor Royal Paper (“Agfacolor Print”) (“Ektacolor Print”) (1984–85) (EP-2) (“Kodalux Print”) (1986–91 for Ektacolor 2001) (RA-4) Agfacolor PE Paper Type 589i 8 (–M) 8 (–M) 8 (–C) (1989–91 for Ektacolor Royal) Agfacolor PE Paper Type 7 (1989–92 for Ektacolor Portra) (“Agfacolor Print”) (1983–85) (EP-2) Fujicolor Paper Type 8908 13 (–M) 13 (–M) 9 (Y–C) (“Fujicolor Print”) 3M Professional Color Paper Type 25 8 (–M) 9 (–M) 5 (Y–C) (1980–84) (EP-2) 3M High Speed Color Paper Type 19 (1978–88; 3M ceased manufacture Fujicolor Paper FA 12 (–M) 12 (–M) 12 (–M) of color paper in 1988) (EP-2) (“Fujicolor Print”) (1988–89) (RA-4) Agfacolor PE Paper Type 5 7 (–M) 7 (–M) 3 (M–C) (“Agfacolor Print”) Konica Color PC Paper SIII 11 (–M) 11 (–M) 4 (Y–C) (1977– 82) (Agfa AP-87) Sakuracolor PC Paper SIII (1983–84) (EP-2) Agfacolor PE Paper Type 589 6 (–M) 7 (–M) 5 (–M) (“Agfacolor Print”) Sakuracolor PC Paper SII 11 (–M) 10 (–M) 5 (Y–C) (1981– 83) (EP-2) (1978–83) (EP-2) Agfacolor PE Paper Type 4 6 (–C) 7 (–C) 5 (–C) Kodak Ektacolor 74 RC Paper 11 (–M) 11 (–M) 4 (M–C) (“Agfacolor Print”) (“Ektacolor Print”) (this paper has extremely poor (“Kodacolor Print”) dark fading stability) (initial type: 1977– 82) (EP-2) (1974– 82) (Agfa AP-85)

Kodak Ektacolor 37 RC Paper Type 2261 11 (–M) 11 (–M) 4 (M–C) (“Ektacolor Print”) (“Kodacolor Print”) (1971–78) (EP-3) 134

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Table 3.2 Comparative Light Fading Stability of Silver Dye-Bleach; Chromogenic Reversal; Dye-Imbibition; and UltraStable, EverColor, and Polaroid Permanent Color Pigment Print Materials

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc) with fluorescent lamps. These predictions are based on equivalent light exposures in accelerated tests at 21.5 klux (2,000 fc) at 75°F (24°C) and 60% RH. Ilford Ilfochrome (formerly called Cibachrome) and Fresson Quadrichromie prints were tested at 1.35 klux (125 fc) at 75°F (24°C) and 60% RH, as described below. Initial neutral density of 0.6 with full d-min corrected densitometry. Test duration of up to 12 years (4,380 days).

Boldface Type indicates products that were being marketed in the U.S. and/or other countries when this book went to press in 1992; the other products listed had been either discontinued or replaced with newer materials.

(T) = For printing color transparencies Predicted Years of Display (T) = For printing color transparencies Predicted Years of Display (T+N) = For printing either color Prints (T+N) = For printing either color Prints transparencies or negatives Prints Covered Prints transparencies or negatives Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

UltraStable Permanent Color Prints (T+N) >500 (—) >500 (—) >200 (—) Kodak Dye Transfer Prints [fiber-base] (T+N) 50 (–M) 54 (–M) 50 (–M) (pigment color process) [polyester & fiber-base] [tentative] [tentative] [tentative] (high-stability Kodak MX-1372 yellow dye and paper (UltraStable Permanent Color Process) with UV-absorbing overcoat trade-tested in 1988–89) (improved yellow pigment type: 1993— ) (The paper and yellow dye proved difficult to work with and Kodak decided not to market the materials.) Polaroid Permanent-Color Prints (T+N) >500 (—) >500 (—) >200 (—) Ataraxia Studio Collectors Color Prints [tentative] [tentative] [tentative] Kodak Dye Transfer Prints [fiber-base] (T+N) 32 (M–Y) 21 (C–Y) 8 (M–C) (pigment color process) [polyester] (Kodak Film and Paper Dyes) (1989— ) (Polaroid Permanent-Color Process) (1946—, with minor changes)

Fuji-Inax Photocera Color Photographs (T+N) >500 (—) >500 (—) >500 (—) Ilford Ilfochrome Classic Prints (T) 29 (–M)* 33 (C–Y)* 21 (–M)* (fired pigment color process) [ceramic support] [tentative] [tentative] [tentative] Ilford Cibachrome II Prints (initially available only from Ilford Cibachrome-A II Prints [improved type] Fujicolor Processing Service in Japan) Fuji CB Prints (material supplied by Ilford) (1991— ) (Fuji-Inax Ceramic Color Process) (P-3, P-3X, P-30, and P-30P) [polyester and RC] (Although Ilfochrome “Pearl” semi-gloss EverColor Pigment Color Prints (T+N) (new product – test data not available) and glossy-surface RC prints have dye (pigment color process) [polyester] stability that is similar to Ilfochrome (A high-stability version of the AgfaProof high-gloss polyester-base prints, the RC Process marketed by the EverColor Corporation.) prints are subject to RC base cracking (1993— ) (EverColor Pigment Color Print Process) and image yellowing, and therefore are not Fresson Quadrichromie Prints (T+N) 225 (–M) >225 (—) 100 (–M) recommended for long-term applications.) (pigment color process) [fiber base] (1980–91 for Cibachrome II) (available only in France) (1989–91 for “improved” Cibachrome-A II) (1952— ) (Fresson Color Print Process) (1991— for Ilfochrome Classic)

Agfachrome CU 410 Color Prints (T) 88 (M–Y) 134 (–M) 43 (M–Y) Fujichrome Paper Type 35 (T) 19 (–M) 19 (–M) 14 (–M) [pigmented triacetate base] Fujichrome Copy Paper Type 35H (Abandoned by Agfa, this was an outstanding Fujichrome Super-Gloss Printing Material [polyester] example of the silver dye-bleach process.) (“Fujichrome Super Deluxe Prints”) [polyester] (1970–73) (Agfachrome Process 60) (1992— ) (R-3)

This document originated at on June 6, 2003 under file name: Table 3.2 (continued from previous page) Chapter 3 Light Fading Stability of Displayed Color Prints

(T) = For printing color transparencies Predicted Years of Display (T) = For printing color transparencies Predicted Years of Display (T+N) = For printing either color Prints (T+N) = For printing either color Prints transparencies or negatives Prints Covered Prints transparencies or negatives Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

Fujichrome Paper Type 34 (T) 19 (–M) 19 (–M) 14 (–M) Kodak Ektachrome 22 Paper [improved] (T) 14 (–M) 14 (–M) 13 (–M) Fujichrome Copy Paper Type 34H (improved type: 1990–91) (R-3) Fujichrome Super-Gloss Printing Material [polyester] (1986–92) (R-3) Kodak Ektachrome 2203 Paper (T) 14 (–M) 14 (–M) 13 (–M) (1978–84) (R-100) Fuji Dyecolor Prints [fiber-base] (T+N) 17 (C–Y) 16 (C–Y) 7 (M–Y) (dye transfer type process) Konica Chrome Paper Type 81 (T) (test data not available, but (available only in Japan) (1989— ) (R-3) probably has light fading (1970— ) (Fuji Dyecolor process) stability similar to that of Konica Color QA Paper Type A3) Ilford Cibachrome-A II Prints (T) 16 (–M)* 21 (C–Y)* 14 (–M)* [polyester and RC] Fujichrome Reversal Paper Type 31 (T) 10 (–M) 12 (–M) 11 (–M) (Although Cibachrome “Pearl” semi-gloss and (1978–83) (R-100) glossy-surface RC prints have dye stability that is similar to Cibachrome high-gloss polyester-base Agfachrome Paper CRN [Type 63] (T) 10 (–M) 11 (–M) 10 (–M) prints, the RC prints are subject to RC base Agfachrome High Gloss Material CRP [polyester] cracking and image yellowing, and therefore are Agfachrome Copy Paper CRH not recommended for long-term applications.) (1984–90 for initial types) (initial type: 1981–89) (P-30) (1990— for “improved” types) (R-3) Ilford Cibachrome-A Prints (T) 16 (–M)* 19 (–M)* 11 (–M)* [pigmented triacetate base] Kodak Ektachrome 14 Paper (T) 8 (C–Y) 7 (C–Y) 5 (C–Y) (1975–81) (P-12) (1981–85) (R-100)

Fujichrome Paper Type 33 (T) 16 (–M) 17 (–M) 15 (–M) Kodak Ektaflex PCT Color Prints (T+N) 7 (C–M) 7 (C–M) 6 (C–M) (1983–86) (R-3) (dye-diffusion transfer process) (Kodak Ektaflex Process) Kodak Ektachrome Copy Paper (T) 15 (–M) 15 (–M) 14 (–M) (1981–88) Kodak Ektachrome HC Copy Paper Kodak Ektachrome Thin Copy Paper Agfachrome Reversal Paper CU 310 (T) 5 (–M) 6 (–M) 5 (C–M) Kodak Ektachrome 22 Paper [initial type] (1979–84) (R-100) Kodak Ektachrome Prestige Paper [glossy polyester base] (Not recommended: these Ektachrome papers have very poor Kodak Ektachrome RC Paper Type 1993 (T) 5 (–M) 4 (–M) 3 (–C) dark fading stability compared with Fujichrome, Konica Chrome, (1972–79) (R-5) Agfachrome, and Ektachrome Radiance Process R-3 papers.) (1984–90 for initial type of Ektachrome 22) Agfachrome-Speed Color Prints (T) 2 (M–C) 2 (M–C) 2 (M–C) (1986–91 for Ektachrome Prestige) (single-sheet dye-diffusion process) (1984–92 for Ektachrome HC Copy and Thin) (Agfachrome-Speed Process) (1984— for Ektachrome Copy) (R-3) (1983–85)

Kodak Ektachrome Radiance Paper (T) 14 (–M) 14 (–M) 13 (–M) Kodak Ektachrome Radiance * Because of their large reciprocity failure factors (RF Factors) in high-intensity accelerated Select Material [glossy polyester base] light fading tests, Ilford Ilfochrome (Cibachrome) prints were illuminated with a lower Kodak Ektachrome Radiance HC Copy Paper intensity of 1.35 klux (125 fc) for periods of up to 10 years; this lower intensity illumination Kodak Ektachrome Radiance Thin Copy Paper better simulates the performance of Ilfochrome prints in normal display conditions and (1991— for Radiance and Radiance Select) (R-3) also affords a more valid comparison with most current chromogenic print materials, (1992— for Radiance HC Copy and Thin Copy) which generally exhibit much smaller RF Factors than does Ilfochrome. 136

This document originated at on June 6, 2003 under file name: 137 h emnneadCr fClrPoorpsChapter 3 The Permanence and Care of Color Photographs

Table 3.3 Comparative Light Fading Stability of Polaroid, Fuji, and Kodak Instant Color Prints; Canon and Kodak Digital Copier/Printer Color Prints; Color Offset Printing; Mead Cycolor Prints; and Thermal Dye Transfer Prints and Ink Jet Color Prints for Digitized Pictorial Images and Computer-Generated Images

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc) with fluorescent lamps. These predictions are based on equivalent light exposures in accelerated tests at 1.35 klux (125 fc) at 75°F (24°C) and 60% RH for photographic instant color prints, and 21.5 klux (2,000 fc) at 75°F (24°C) and 60% RH for the other materials listed (marked with an *). Initial neutral density of 0.6 with full d-min corrected densitometry. With Mead Cycolor prints, the stain limit was reached before any of the dye-fading limits. With Stork ink jet color prints, pure magenta and yellow colors faded unusually rapidly compared with the fading of more neutral colors, and this lowered the rankings of the Stork prints. Test duration of up to 6 years (2,190 days).

Boldface Type indicates products that were being marketed in the U.S. and/or other countries when this book went to press in 1992; the other products listed had been either discontinued or replaced with newer materials. Kodak, which introduced its first instant cameras and film in 1976, was forced to abandon the instant photography field in 1986 after a federal court found that Kodak had infringed on Polaroid patents.

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

3M Electrocolor Prints 28.0 (–M) Data Not 26.0 (–M) Polaroid SX-70 Time-Zero Prints [improved] 11.0 (–M) 12.0 (–M) 12.0 (–M) [continuous-tone, liquid-toner Available Polaroid Type 778 Time-Zero Prints electrophotographic color process] [continuous-tone instant photographic prints] (Abandoned by 3M, this was an outstanding example (Because of high levels of yellowish stain that form of the liquid-toner color electrophotographic process.) over time in normal dark storage, Polaroid SX-70 (1965–66) (3M Company, St. Paul, Minnesota) Time-Zero and Type 778 prints are not recommended for other than short-term applications.) Canon Color Laser Copier Prints* 25.0 (C–M) 40.0 (C–Y) 7.8 (C–M) (improved type: 1980— ) [scanned, electronically produced prints] (Xerographic plain-paper digital color Polaroid SX-70 Prints [improved] 10.0 (M–Y) 11.0 (M–Y) 11.0 (M–Y) copier/printer; test prints made in 1989.) [continuous-tone instant photographic prints] (improved type: 1976–79) Kodak ColorEdge Digital Copier Prints* 19.7 (C–Y) 23.1 (C–Y) 15.7 (C–Y) [scanned, electronically produced prints] Polaroid SX-70 Time-Zero Prints 6.0 (–M) 7.0 (–M) 6.0 (–M) (Xerographic plain-paper digital color [continuous-tone instant photographic prints] copier/printer; test prints made in 1992.) (initial type: 1979–80) Kodak Ektatherm Color Prints* 11.5 (M–C) 23.3 (M–C) 4.5 (–C) [scanned, electronically produced prints] Polacolor 2 Prints 6.0 (–M) 5.0 (C–Y) 4.0 (–M) (Thermal dye transfer color prints made with Kodak (Types 88; 108; 668; 58; and 808) XL 7700 Digital Printer; test prints made in 1992.) [continuous-tone instant photographic prints] (The images of Polacolor 2 prints suffer a Polaroid 600 High Speed Prints 11.0 (–M) 12.0 (–M) 12.0 (–M) yellowish color shift that may become [continuous-tone instant photographic prints] objectionable after only a few years of dark (Because of high levels of yellowish stain that form over storage under normal conditions; because time in normal dark storage, Polaroid 600 prints are not of this, Polacolor 2 prints are not recommended recommendedfor other than short-term applications.) for fine art or other critical applications.) (1981– 88) (1975— ) (peel-apart prints)

This document originated at on June 6, 2003 under file name: Table 3.3 (continued from previous page) Chapter 3 Light Fading Stability of Displayed Color Prints

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

Kodak Trimprint Instant Color Prints 4.1 (–M) 4.6 (–M) 4.0 (–M) Polaroid Polacolor Pro 100 Prints (New product: test data not available, [continuous-tone instant photographic prints] [continuous-tone instant photographic prints] but probably has light fading stability (1983–86) (1993— ) (peel-apart prints) similar to that of Polacolor ER prints.)

Polaroid 600 Plus Prints 4.1 (–M) 4.2 (–M) 3.5 (–M) Stork Ink Jet Color Prints (Standard ink set)* 3.6 (–M) 4.4 (–M) 2.0 (–M) Polaroid Autofilm Type 330 Prints [scanned, electronically produced prints] Polaroid Type 990 Prints (Ink jet color prints made with a Stork Bedford B.V. Polaroid Spectra Prints ink jet printer and the Stork #1010 “Standard” graphic arts ink set; test prints made in 1992.) Polaroid Image Prints (Spectra name in Europe) [continuous-tone instant photographic prints] Stork Ink Jet Color Prints (Reactive Dyes ink set)* 3.5 (–Y) 4.0 (–Y) 3.1 (–Y) (Because of high levels of yellowish stain that form [scanned, electronically produced prints] over time in normal dark storage, Polaroid Spectra (Ink jet color prints made with a Stork Bedford B.V. prints, Image prints, and 600 Plus prints are not ink jet printer and the Stork “Reactive Dyes” recommended for other than short-term applications.) ink set; test prints made in 1992.) (1986–91 for Spectra) (1988— for other prints) Fuji FI-10 Instant Color Prints 2.6 (Y–C) 2.8 (Y–C) 2.4 (Y–C) [continuous-tone instant photographic prints] Polaroid Spectra HD Prints 4.1 (–M) 4.2 (–M) 3.5 (–M) (1981— ) (available only in Japan) Polaroid Image Prints (Spectra HD in Europe) [tentative] [tentative] [tentative] [continuous-tone instant photographic prints] 4-Color Offset Printed Images* 2.5 (C–Y) 2.5 (C–Y) 2.5 (C–Y) (Because of high levels of yellowish stain that [screened, photomechanical prints] form over time in normal dark storage, Polaroid (Cyan, magenta, yellow, and black 4-color process Spectra HD prints are not recommended for inks typical of those used in color offset printing of other than short-term applications.) books and magazines; samples printed in 1990.) (1992— ) Iris Ink Jet Color Prints (Standard ink set)* 2.5 (C–Y) 2.5 (C–Y) 1.7 (C–M) Polaroid Vision 95 Prints (name in Europe) 4.1 (–M) 4.2 (–M) 3.5 (–M) [scanned, electronically produced prints] Polaroid “ ? ” 95 Prints (name in Asia) [tentative] [tentative] [tentative] (Ink jet color prints made on 100% cotton fiber Polaroid “ ? ” 95 Prints (name in North & South America) paper with an Iris Graphics, Inc. 3047 printer using [continuous-tone instant photographic prints] the “Standard” Iris ink set; test prints made in 1992.) (The internal structure of Vision 95 prints is basically the Mead Cycolor Prints* 2.5 (C+Y) Data Not 1.1 (C+Y) same as that of Spectra HD and 600 Plus prints; however, [continuous-tone photographic prints] Available the rate of formation of yellowish stain that occurs over time (Mead Imaging Corporation microencapsulated in dark storage is said by Polaroid to be “somewhat reduced” acrylate image color prints made with a Noritsu compared with that of Spectra HD and 600 Plus prints. The QPS-101 Cycolor Slideprinter; test prints made in 1988.) names Polaroid will use for Vision 95 products in non-European markets were not available at the time this book went to press.) Fuji 800 Instant Color Prints 2.1 (M–C) 2.1 (M–C) 2.0 (M–C) (1992— for Vision 95 products sold in Germany) [continuous-tone instant photographic prints] (1993— for Asia, North and South America, and other markets) (1984— ) (available only in Japan) Polaroid Polacolor ER Prints 3.7 (M–Y) 2.8 (M–Y) 3.7 (–C) Sony Mavigraph Still Video Color Prints* 1.2 (–M) 1.7 (–M) 0.6 (–M) (Types 59; 559; 669; and 809) [scanned, electronically produced prints] [continuous-tone instant photographic prints] (Thermal dye transfer prints made with Sony UP-5000 (1980— ) (peel-apart prints) ProMavica Color Video Printer; test prints made in 1989.) Polaroid Polacolor 64T and 100 Prints 3.7 (M–Y) 2.8 (M–Y) 3.7 (–C) Kodak PR10 Instant Color Prints 0.5 (M–C) 0.5 (M–C) 0.6 (M–C) [continuous-tone instant photographic prints] [tentative] [tentative] [tentative] [continuous-tone instant photographic prints] (1992— ) (peel-apart prints) (initial type: 1976–79) 138

This document originated at on June 6, 2003 under file name: 139 h emnneadCr fClrPoorpsChapter 3 The Permanence and Care of Color Photographs Table 3.4 Comparative Light Fading Stability of Color Prints Illuminated with Incandescent Tungsten Lamps

Predicted years of display to reach “Home and Commercial” and “Museum and Archive” image-life fading limits for color prints illuminated 12 hours a day at 300 lux (28 fc) with incandescent tungsten reflector flood lamps. Predictions based on equivalent light exposures in accelerated tests at 1.35 klux (125 fc) at 75°F (24°C) and 60% RH. Initial neutral density of 0.6 (“Home and Commercial”) and 0.45 (“Museum and Archive”) with full d-min corrected densitometry.

Test duration of up to 10 years (3,650 days).

Boldface Type indicates products that were being marketed in the U.S. and/or other countries when this book went to press in 1992; the other products listed had been either discontinued or replaced with newer materials.

* Indicates print materials with poor dark fading stability. In most cases, the performance of these prints in actual long-term display will be worse than indicated by these accelerated light fading tests, which, because of their comparatively short duration, generally do not account for the contribution of dark storage to overall print fading and staining.

Predicted Years of Display Predicted Years of Display Com: “Home and Commercial” Fading Limits Com: “Home and Commercial” Fading Limits Mus: “Museum and Archive” Fading Limits Prints Mus: “Museum and Archive” Fading Limits Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

UltraStable Permanent Color Prints Com: >500 (—) >500 (—) >500 (—) Ilford Ilfochrome Classic Prints Com: 25 (M–C) 29 (M–C) 17 (Y–C) (pigment color process) [polyester] Mus: >500 (—) >500 (—) >500 (—) Ilford Cibachrome II Prints Mus: 4 (–C) 6 (–C) 4 (–C) (UltraStable Permanent Color Process) [tentative] [tentative] [tentative] Ilford Cibachrome-A II Prints [improved type] (improved yellow pigment type: 1993— ) Fuji CB Prints (material supplied by Ilford) Polaroid Permanent-Color Prints Com: >500 (—) >500 (—) >500 (—) (P-3, P-3X, P-30, and P-30P) [polyester and RC] (Although Ilfochrome “Pearl” semi-gloss and Ataraxia Studio Collectors Color Prints Mus: >500 (—) >500 (—) >500 (—) glossy-surface RC prints have dye stability that (pigment color process) [polyester] [tentative] [tentative] [tentative] is similar to Ilfochrome high-gloss polyester-base (1989— ) (Polaroid Permanent-Color Process) prints, the RC prints are subject to RC base cracking Fujicolor Paper Super FA Type 3 Com: 105 (–M) 105 (–M) 80 (–M) and light-induced yellowing, and therefore are not recommended for long-term applications.) Fujicolor Supreme Paper SFA3 Mus: 40 (–M) 40 (–M) 35 (–M) (1980–91 for Cibachrome II) Fujicolor SFA3 Professional Portrait Paper [estimated] [estimated] [estimated] (1989–91 for “improved” Cibachrome-A II) Fujicolor Professional Paper SFA3 Type C (1991— for Ilfochrome Classic) Fujiflex SFA3 Super-Gloss Printing Material [polyester] (“Fujicolor Print”) Fujicolor Paper Type 8901* Com: 24 (–M) 24 (–M) 23 (–M) (1992/93— ) (RA-4) (1984–86) Mus: 9 (–M) 9 (–M) 7 (–M)

Kodak Dye Transfer Prints [fiber-base] Com: 48 (M–Y) 46 (M–Y) 33 (–C) Konica Color PC Paper Type SR Com: 24 (–M) 23 (–M) 21 (–M) (Made with “standard” Kodak Dye Mus: 9 (–C) 12 (–Y) 6 (–C) Konica Color PC Professional Type EX Mus: 9 (–M) 9 (–M) 7 (–M) Transfer Film and Paper Dyes and Konica Color PC Paper Type SR (SG) [polyester] “standard” Kodak Dye Transfer Paper.) (Konica Color “Century Prints”) (1946—, with minor modifications) (Konica Color “Century Paper”) (Konica Color “Century ProPrint Type EX”) Fuji Dyecolor Prints [fiber-base] Com: 29 (M–Y) 31 (M–Y) 22 (M–Y) (Konica Color “Peerless Prints”) (dye transfer type) Mus: 11 (–Y) 12 (–Y) 11 (–Y) (1984 [April]— for Type SR) (Fuji Dyecolor process) (1984 [July]— for Type SG) (1970— ) (available only in Japan) (1987— for type EX)

This document originated at on June 6, 2003 under file name: Table 3.4 (continued from previous page) Chapter 3 Light Fading Stability of Displayed Color Prints

Predicted Years of Display Predicted Years of Display Com: “Home and Commercial” Fading Limits Com: “Home and Commercial” Fading Limits Prints Prints Mus: “Museum and Archive” Fading Limits Mus: “Museum and Archive” Fading Limits Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

Kodak Ektacolor Edge Paper Com: 24 (–M) 23 (–M) 24 (–M) Agfacolor PE Paper Type 7i* Com: 17 (–M) 19 (–M) 14 (–M) Kodak Ektacolor Portra II Paper Mus: 9 (–M) 9 (–M) 9 (–M) (1984–85) Mus: 6 (–M) 6 (–M) 5 (–M) Kodak Ektacolor Royal II Paper [estimated] [estimated] [estimated] Kodak Ektacolor Supra Paper Kodak Ektacolor 78 Paper Type 2524* Com: 17 (–M) 17 (–M) 17 (–M) Kodak Ektacolor Ultra Paper Kodak Ektacolor 74 RC Paper Type 2524* Mus: 4 (–M) 5 (–M) 4 (–M) (“Ektacolor Print”) Kodak Duraflex RA Print Material [polyester] (“Kodacolor Print”) Kodak Ektacolor 2001 Paper (1982–86) Kodak Ektacolor Portra Paper Kodak Ektacolor Royal Paper Kodak Ektachrome 14 Paper* Com: 17 (–M) 16 (–M) 17 (–M) (“Ektacolor Print”) (1981–85) Mus: 3 (–M) 3 (–M) 3 (–M) (“Kodalux Print”) (formerly “Kodacolor Print”) Agfacolor PE Paper Type 589i* Com: 14 (–M) 16 (–M) 14 (–M) (1986–91 for Ektacolor 2001) (RA-4) Agfacolor PE Paper Type 7* Mus: 5 (–M) 6 (–M) 6 (–M) (1991— for Ektacolor Edge and Royal II) (1983–85) (1992— for Portra II) (1989— for other papers) Agfacolor PE Paper Type 5* Com: 10 (Y–M) 11 (–M) 11 (–M) (1977–82) Mus: 4 (–M) 4 (–M) 4 (–M) Fujicolor Paper Type 8908* Com: 24 (–M) 24 (–M) 22 (–M) (1980–84) Mus: 9 (–M) 8 (–M) 9 (–M) Agfacolor PE Paper Type 589* Com: 9 (C–Y) 9 (C–Y) 9 (C–Y) (1981–83) Mus: 4 (–Y) 4 (–M) 4 (–Y) Fujichrome Reversal Paper Type 31* Com: 24 (–M) 24 (–M) 22 (–M) (1978–83) Mus: 7 (–M) 6 (–M) 6 (–M) Agfacolor PE Paper Type 4* Com: 9.0 (–C) 11.0 (–C) 9.0 (–C) (This paper has extremely Mus: 3.1 (–C) 3.1 (–C) 2.3 (–C) Konica Color PC Paper SIII* Com: 23 (–M) 22 (–M) Data Not poor dark fading stability.) (1983–84) Mus: 8 (–M) 8 (–M) Available (1974– 82)

Ektacolor Plus Paper Com: 21 (–M) 23 (–M) 21 (–M) Polaroid High Speed Type 779 Prints Com: 8.0 (M–Y) 10.0 (M–Y) 8.0 (M–Y) Ektacolor Professional Paper Mus: 9 (–M) 9 (–M) 9 (–M) Polaroid Autofilm Type 339 Prints Mus: 2.7 (M–Y) 2.9 (M–Y) 3.1 (M–Y) (“Ektacolor Print”) Polaroid 600 High Speed Prints (“Kodalux Print”) (Because of high levels of yellowish stain that (formerly “Kodacolor Print”) form over time in normal dark storage, Polaroid (1984 [August]— for Ektacolor Plus) Type 779 and Type 339 prints are not recommended (1985— for Ektacolor Professional) for other than short-term applications.) (1981– 88 for Polaroid 600) Kodak Ektachrome 2203 Paper* Com: 19 (–M) 21 (–M) 19 (–M) (1981— for other prints) (1978–84) Mus: 8 (–M) 8 (–M) 8 (–M) Polaroid 600 Plus Prints Com: 8.0 (–M) 8.0 (–M) 7.0 (–M) Kodak Ektacolor 74 RC Paper* Com: 19 (–M) 19 (–M) 19 (–M) Polaroid Autofilm Type 330 Prints Mus: 2.8 (–M) 2.6 (–M) 2.4 (–M) (“Ektacolor Print”) Mus: 6 (–M) 6 (–M) 6 (–M) Polaroid Type 990 Prints (“Kodacolor Print”) Polaroid Spectra Prints (Image Prints in Europe) (initial type: 1977–82) (Because of high levels of yellowish stain that form over time in normal dark storage, Polaroid Spectra Kodak Ektacolor 37 RC Paper Type 2261* Com: 19 (–M) 17 (–M) 19 (–M) prints, Image prints, and 600 Plus prints are not (“Ektacolor Print”) Mus: 6 (–M) 5 (–M) 6 (–M) recommended for other than short-term applications.) (“Kodacolor Print”) (1986–91 for Spectra) (1971–78)

(Table 3.4 continued on following page . . .) 140

This document originated at on June 6, 2003 under file name: 141

Table 3.4 (continued from previous page) Chapter 3 The Permanence and Care of Color Photographs

Predicted Years of Display Predicted Years of Display Com: “Home and Commercial” Fading Limits Com: “Home and Commercial” Fading Limits Mus: “Museum and Archive” Fading Limits Prints Mus: “Museum and Archive” Fading Limits Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

Polaroid Spectra HD Prints Com: 8.0 (–M) 8.0 (–M) 7.0 (–M) Polaroid Polacolor ER Prints Com: 3.4 (M–Y) 3.3 (M–Y) 2.9 (M–Y) Polaroid Image Prints (Spectra in Europe) Mus: 2.8 (–M) 2.6 (–M) 2.4 (–M) (Types 59; 559; 669; and 809) Mus: 2.4 (–Y) 2.1 (C–Y) 1.8 (–Y) (Because of high levels of yellowish stain [tentative] [tentative] [tentative] (1980— ) that form over time in normal dark storage, Polaroid Spectra HD prints and Image Polaroid Polacolor 100 Prints Com: 3.4 (M–Y) 3.3 (M–Y) 2.9 (M–Y) prints are not recommended for other than Polaroid Polacolor 64T Prints Mus: 2.4 (–Y) 2.1 (C–Y) 1.8 (–Y) short-term applications.) (1992— ) [tentative] [tentative] [tentative] (1991— ) Polaroid Polacolor Pro 100 Prints (New product: test data not available, Polaroid SX-70 Prints [Improved] Com: 7.0 (C–Y) 7.0 (C–Y) 7.0 (C–Y) (1993— ) but probably has light fading stability (1976–79) Mus: 3.3 (C–Y) 3.4 (C–Y) 2.9 (C–Y) similar to that of Polacolor ER prints.) Kodak Ektaflex PCT Color Prints Com: 5.7 (–M) 5.7 (–M) 5.0 (–M) Fuji FI-10 Instant Color Prints* Com: 1.7 (Y–C) 1.6 (Y–C) 1.4 (Y–C) (1981–88) Mus: 2.3 (–M) 2.3 (–M) 1.7 (–M) (1981— ) (available only in Japan) Mus: 0.6 (–C) 0.6 (–C) 0.6 (–C) Kodak Trimprint Instant Color Prints Com: 4.6 (–C) 4.6 (–C) 4.6 (–C) Fuji 800 Instant Color Prints* Com: 1.2 (M–C) 1.2 (M–C) 1.1 (M–C) (1983–86) Mus: 1.4 (–C) 1.4 (–C) 1.1 (–C) (1984— ) (available only in Japan) Mus: 0.5 (M–C) 0.5 (M–C) 0.5 (M–C) Polaroid Polacolor 2 Prints Com: 3.6 (M–Y) 3.3 (M–Y) 3.5 (M–Y) Kodak PR10 Instant Color Prints* Com: 1.2 (–C) 1.4 (–C) 1.1 (–C) (Types 88; 108; 668; 58; and 808) Mus: 2.2 (–Y) 2.1 (C–Y) 2.1 (–Y) (initial type: 1976–79) Mus: 0.4 (–C) 0.4 (–C) 0.4 (–C) (The images of Polacolor 2 prints suffer a yellowish color shift that may become objectionable after only a few years of dark Agfachrome-Speed Color Prints Com: 1.2 (M–C) 1.1 (M–C) 1.0 (M–C) storage under normal conditions; because (1983–85) Mus: 0.5 (M–C) 0.5 (M–C) 0.4 (M–C) of this, Polacolor 2 prints are not recommended for fine art or other critical applications.) (1975— )

This document originated at on June 6, 2003 under file name: ih aigSaiiyo ipae oo rnsChapter 3 Light Fading Stability of Displayed Color Prints

Table 3.5 Color Print Fading: Tungsten vs. Fluorescent Illumination

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed in home and office locations illuminated 12 hours a day at 450 lux (42 fc). These predictions are based on equivalent light exposures in Cool White fluorescent and incandescent tungsten accelerated tests conducted at 1.35 klux (125 fc) at 75°F (24°C) and 60% RH. Initial neutral density of 0.6 with full d-min corrected densitometry.

Test duration of up to 10 years (3,650 days).

Boldface Type indicates products that were being marketed in the U.S. and/or other countries when this book went to press in 1992; the other products listed had been either discontinued or replaced with newer materials.

Predicted Years of Display Predicted Years of Display Tung: Tungsten Illumination Test Tung: Tungsten Illumination Test Fluor: Fluorescent Illumination Test Prints Fluor: Fluorescent Illumination Test Prints Prints Covered Prints Prints Covered Prints Covered With UF-3 Not Covered With UF-3 Not With Ultraviolet Covered With Ultraviolet Covered Type of Color Print Product Glass Filter (Bare Bulb) Type of Color Print Product Glass Filter (Bare Bulb)

Ilford Ilfochrome Classic Prints Tung: 17.0 (Y–C) 20.0 (M–C) 12.0 (Y–C) Polaroid 600 Plus Prints Tung: 5.0 (–M) 5.0 (–M) 4.4 (–M) Ilford Cibachrome II Prints Fluor: 29.0 (–M) 33.0 (C–Y) 21.0 (–M) Polaroid Autofilm Type 330 Prints Fluor: 4.1 (–M) 4.2 (–M) 3.5 (–M) (1980–92 for Cibachrome II) Polaroid Type 990 Prints (1992— for Ilfochrome Classic) Polaroid Spectra Prints Polaroid Image Prints (Spectra in Europe) Konica Color PC Paper Type SR Tung: 16.0 (–M) 15.0 (–M) 14.0 (–M) (1986–91 for Spectra) Konica Color PC Paper Prof. Type EX Fluor: 15.0 (–M) 15.0 (–M) 13.0 (–M) (1988— for other prints) (1984 [April]— )

Kodak Ektacolor 74 RC Paper Tung: 10.0 (–M) 11.0 (–M) 10.0 (–M) Polaroid SX-70 Prints [improved] Tung: 6.0 (C–Y) 6.0 (C–Y) 6.0 (C–Y) (1976–79) (initial type: 1977–82) Fluor: 9.0 (–M) 9.0 (–M) 4.2 (Y–C) Fluor: 10.0 (M–Y) 10.0 (M–Y) 11.0 (M–Y)

Kodak Ektacolor Plus Paper Tung: 14.0 (–M) 15.0 (–M) 14.0 (–M) Kodak Ektaflex PCT Color Prints Tung: 4.0 (–M) 4.0 (–M) 3.5 (–M) Kodak Ektacolor Professional Paper Fluor: 12.0 (–M) 13.0 (–M) 11.0 (–M) (1981– 88) Fluor: 7.0 (C–M) 7.0 (C–M) 6.0 (C–M) (1984 [August]— ) Polaroid Polacolor ER Prints Tung: 2.0 (M–Y) 2.1 (M–Y) 1.8 (M–Y) Agfacolor PE Paper Type 4 Tung: 6.0 (–C) 7.0 (–C) 6.0 (–C) (Types 59; 559; 669; and 809) Fluor: 3.7 (M–Y) 2.8 (M–Y) 3.7 (–C) (1974–82) Fluor: 6.0 (–C) 7.0 (–C) 5.0 (–M) (1980— )

Agfacolor PE Paper Type 5 Tung: 7.0 (Y–M) 7.0 (C–M) 7.0 (–M) Kodak PR10 Instant Color Prints Tung: 0.8 (–C) 0.9 (–C) 0.8 (–C) (1977–82) Fluor: 7.0 (–M) 8.0 (–M) 6.0 (Y–C) (initial type: 1976–79) Fluor: 2.0 (–C) 2.0 (–C) 2.0 (–C)

Agfacolor PE Paper Type 589 Tung: 6.0 (C–Y) 6.0 (C–Y) 7.0 (C–Y) Agfachrome-Speed Color Prints Tung: 0.8 (M–C) 0.8 (M–C) 0.6 (M–C) (1981–83) Fluor: 5.0 (C–Y) 5.0 (C–Y) 7.0 (–M) (1983–85) Fluor: 2.0 (M–C) 2.0 (M–C) 2.0 (M–C)

Polaroid High Speed Type 779 Prints Tung: 5.0 (M–Y) 6.0 (M–Y) 5.0 (M–Y) Polaroid Autofilm Type 339 Prints Fluor: 11.0 (–M) 12.0 (–M) 10.0 (–M) Polaroid 600 High Speed Prints (1981–88 for Polaroid 600) (1981— for other prints) 142

This document originated at on June 6, 2003 under file name: 143 h emnneadCr fClrPoorpsChapter 3 The Permanence and Care of Color Photographs

Table 3.6 Comparative Stability of Color Prints Illuminated with Diffuse North Daylight Through Window Glass

Predicted years of display to reach “Home and Commercial” image-life fading limits for color prints displayed close to a window in home and office locations and illuminated for 12 hours a day with north daylight having an average intensity of 450 lux (42 fc). Predictions based on equivalent light exposures in accelerated north daylight tests with an average light intensity (over a 24 hour period) of about 0.78 klux (75 fc) at 75°F (24°C) and 60% RH. Initial neutral density of 0.6 with full d-min corrected densitometry.

Test duration of up to 10 years (3,650 days).

Boldface Type indicates products that were being marketed in the U.S. and/or other countries when this book went to press in 1992; the other products listed had been either discontinued or replaced with newer materials.

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Covered Covered With UF-3 Covered With UF-3 With Ultraviolet With Ultraviolet Type of Color Print Product Glass Filter Type of Color Print Product Glass Filter

Ilford Ilfochrome Classic Prints 9.5 (–M) 16.0 (–M) Kodak Ektacolor 78 Paper Type 2524 6.3 (–M) 6.9 (–M) Ilford Cibachrome II Prints Kodak Ektacolor 74 RC Paper Type 2524 Fuji CB Prints (material supplied by Ilford) (1982–86) (P-3, P-3X, P-30, and P-30P) [polyester and RC] (Although Ilfochrome “Pearl” semi-gloss and glossy- Konica Color Paper SIII 5.8 (Y–C) 8.6 (–M) surface RC prints have dye stability that is similar to (1983–84) Ilfochrome high-gloss polyester-base prints, the RC prints are subject to RC base cracking and image yellowing, and Kodak Ektacolor 74 RC Paper 5.7 (–M) 7.3 (–M) therefore are not recommended for long-term applications.) (initial type: 1977–82) (1980–91 for Cibachrome II) (1991— for Ilfochrome Classic) Fujicolor Paper Type 8908 5.5 (Y–C) 8.6 (–M) (1980–84) Konica Color PC Paper Type SR 9.0 (–M) 9.6 (–M) Konica Color PC Paper Prof. Type EX Kodak Ektachrome 14 Paper 5.4 (–M) 7.4 (–M) (1984 [April]— for Type SR) (1981–85) (1987— for Type EX) Agfacolor PE Paper Type 7i 5.0 (d-min: C+Y) 6.1 (–M) Kodak Dye Transfer Prints 8.3 (M–C) 6.3 (M–Y) (1984–85) (“standard” Kodak Dye Transfer Film and Paper Dyes) Fujichrome Reversal Paper Type 31 4.9 (–M) 7.7 (–M) (1946—, with minor modifications) (1978–83)

Fujicolor Paper Type 8901 7.4 (–M) 9.6 (–M) Kodak Ektachrome 2203 Paper 4.9 (–C) 6.5 (–C) (1984–86) (1978–84)

Kodak Ektacolor Plus Paper 7.1 (–M) 7.6 (–M) Fuji Dyecolor Prints 4.6 (M–Y) 5.4 (C–Y) Kodak Ektacolor Professional Paper (dye transfer type) (1984 [August]— for Ektacolor Plus) (1970— ) (available only in Japan) (1985— for Ektacolor Professional) Agfacolor PE Paper Type 589i 4.2 (–M) 5.4 (–M) Kodak Ektacolor 37 RC Paper 6.5 (–M) 8.2 (–M) Agfacolor PE Paper Type 7 (1971–78) (1983–85)

This document originated at on June 6, 2003 under file name: Table 3.6 (continued from previous page) Chapter 3 Light Fading Stability of Displayed Color Prints

Predicted Years of Display Predicted Years of Display Prints Prints Prints Covered Prints Covered Covered With UF-3 Covered With UF-3 With Ultraviolet With Ultraviolet Type of Color Print Product Glass Filter Type of Color Print Product Glass Filter

Ilford Cibachrome-A Prints 4.2 (–M) 8.9 (M–Y) Polaroid High Speed Type 779 Prints 2.1 (M–Y) 2.0 (M–Y) (1975–81) (P-12) Polaroid Autofilm Type 339 Prints Polaroid 600 High Speed Prints 3M Profesional Color Paper Type 25 4.0 (–M) 5.7 (–M) (Because of high levels of yellowish 3M High Speed Color Paper Type 19 stain that form over time in normal (1978–88) dark storage, Polaroid 600, Type 779, and Type 339 prints are not recommended Agfacolor PE Paper Type 5 3.5 (–M) 3.8 (–M) for other than short-term applications.) (1977–82) (1981– 88 for Polaroid 600) (1981— for other prints) Agfacolor PE Paper Type 589 3.4 (C–Y) 2.6 (C–Y) (1981–83) Agfacolor PE Paper Type 4 1.8 (–C) 3.3 (–C) (This paper has extremely poor Kodak Ektaflex PCT Color Prints 3.2 (–M) 3.2 (–M) dark fading stability.) (1981–88) (1974–82) (Agfa AP-85)

Polaroid SX-70 Prints [improved] 3.0 (M–Y) 2.7 (C–Y) Polaroid Polacolor 2 Prints 1.8 (–C) 1.7 (C–Y) (1976–79) (Types 88; 108; 668; 58; and 808) Kodak Trimprint Instant Color Prints 2.8 (–M) 3.0 (–M) (The images of Polacolor 2 prints suffer a yellowish color shift that may (1983–86) become objectionable after only a few Kodak Ektachrome RC Paper Type 1993 2.6 (–M) 2.5 (–M) years of dark storage under normal (1972–79) conditions; because of this, Polacolor 2 prints are not recommended for fine art Polaroid 600 Plus Prints 2.5 (–M) 3.1 (–M) or other critical applications.) Polaroid Autofilm Type 330 Prints (1975— ) Polaroid Type 990 Prints Fuji FI-10 Instant Color Prints 1.6 (Y–C) 2.1 (Y–C) Polaroid Spectra Prints (available only in Japan) Polaroid Image Prints (Spectra in Europe) (1981— ) (Because of high levels of yellowish stain that form over time in normal Polaroid SX-70 Time-Zero Prints 1.6 (M–Y) 1.3 (M–Y) dark storage, Polaroid Spectra prints, (initial type: 1979–80) Image prints, 600 Plus prints, and other Polaroid products using the Spectra Fuji 800 Instant Color Prints 1.3 (M–C) 1.3 (M–C) emulsion are not recommended for (available only in Japan) other than short-term applications.) (1984— ) (1986–91 for Spectra) (1988— for other prints) Polaroid Polacolor ER Prints 1.2 (M–C) 1.6 (M–Y) (Types 59; 559; 669; and 809) Polaroid Spectra HD Prints 2.5 (–M) 3.1 (–M) (1980— ) Polaroid Image Prints (Spectra in Europe) [tentative] [tentative] (Because of high levels of yellowish stain that Agfachrome-Speed Color Prints 0.8 (M–C) 1.1 (M–C) form over time in normal dark storage, Polaroid (1983–85) Spectra HD prints are not recommended for other than short-term applications.) Kodak PR10 Instant Color Prints 0.6 (–C) 1.0 (–C) (1991— ) (initial type: 1976–79) 144

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