Applications
A photographic print can be technically perfect when it leaves the printer and still be vulnerable to a splash of water, a finger mark or months of window light. A clear coating helps protect the image, but the right product depends on two things photographers often overlook: what is really in the inks, and how the media reacts to moisture. This page works through those questions and the main options from Landor.
Many inkjet printers marketed as pigment printers use a blend of pigment and dye, especially in the black channels. Pure pigment particles can reduce colour brilliance, so manufacturers including HP, Epson and Canon add dye to achieve deeper, more vibrant blacks. Landor’s own testing has found that some so-called pigment printers rely heavily on dye.
This matters because dye-based inks are more soluble and less durable than pigments. A print that looks robust may still stain, run or fade when exposed to water or light. Before choosing a coating, check whether your inks are fully water-resistant, and if in doubt, test an offcut. Landor’s page on protecting inkjet prints from water, UV and abrasion covers this in more depth.
The media is the second half of the problem. Most photo and fine art papers are absorbent and can cockle or warp when they get wet, which spoils the presentation even if the ink survives.
For prints that will be handled or displayed in demanding places, modern polyester and polypropylene films are worth considering. Landor notes that a high-grade white polyester film can match or exceed the print quality of gloss-coated papers while being water-resistant and tear-resistant. Coating options then widen, because a water-resistant film can take water-based coatings as well as solvent sprays.
For very large work, photographer Martin Thompson moved to Landor Phototex fabric after finding paper too fragile above a certain size. He describes it as having a very fine weave and great colour performance, and as very durable when coupled with a liquid laminate. London photographic lab Metro Imaging has also used Phototex for a large wall installation, citing its tonal range and its synergy with the photographic materials it commonly uses.
Landor’s range splits broadly into two families:
Both families are designed to add water resistance, UV fade protection and abrasion resistance, and to enhance colour in gloss, satin or matt finishes. Exact finish options vary by product, so check the data sheet. Landor’s experience is that a coated print can typically last around twice as long as an uncoated one.
For a small number of prints, an aerosol is the quickest route, with no clean-up. Landor’s guidance is to apply a light first tack coat from about 6 to 10 inches away, followed by a heavier final coat, keeping speed and distance consistent. Allow for two coats and some loss to the air: a good estimate is 1 to 2 m² per can. Drying times differ between products and conditions, so follow the data sheet before stacking or framing.
Solvent sprays need good air circulation, and possibly a protective mask, especially when coating many prints. Landor advises against improvised alternatives such as hairspray, which do not give a print the protection it deserves.
Photographers increasingly print at architectural scale. David Anthony Hall’s 20 metre by 3 metre woodland scene at the Chelsea Flower Show was installed outside, and he chose Landor protective coatings to help it cope with UK weather while enhancing the look of the image. He said the coating made his images look even more realistic. The full case study is on the Landor site.
At the other end of the scale, a short indoor exhibition in a benign environment may not need coating at all. Landor’s view is that the decision should rest on the value of the work and how long it must last, not on cost alone.
Generally not. Photo papers are sensitive to water and can cockle, so Landor recommends its solvent-based sprays for paper. Water-based coatings are intended for water-resistant inks and media.
Landor estimates 1 to 2 m² per 463ml can, allowing for two coats and some loss to the air.
It can. Gloss and satin enhance colour depth, while matt reduces reflection. Coat a test print alongside an uncoated one and compare under the lighting where it will hang.
Not necessarily. Many pigment sets include dye, particularly in the blacks. Test water resistance on an offcut before deciding.
Call +44 1252 624411 or email info@liquid-lamination.co.uk for advice, samples and pricing.
