Magazine Article


Mounting & Laminating: Sticking With What Works

A big print being laminated at Photo Colorgraphix, Thousand Palms, CA.
“We have on hand at least 12 to 15 separate laminate products most of the time,” Allen offers.

To that end, he says, his lab added a 38-inch GBC heat-activated laminator able to handle a variety of print types from newspaper pages to tear sheets to fine art reproduction. Eventually, he graduated to the Coda 64-inch mounter/laminator, for which he has nothing but praise. “Coda put together a superb mounting machine, adding heated rollers for thermal laminates. It can handle the largest common substrates (5’x10’) in both mounting and laminating. We use three wide-format printers at 60” and commonly mount and/or laminate nearly 70% of all that output.” Coda’s equipment, he proclaims, is “the greatest we’ve used for the purpose we intended.”

Photo Finished

John Deley, meanwhile, is the proprietor of Pro-Set Color (, a shop in West Paterson, NJ, that offers a wide range of photographic equipment, digital imaging services and photographic lab services. When his company added laminating and mounting to their service menu, it became a big money-maker for them. “Most of our mounting,” he says, “is done for clients who have their own large-format printers and choose not to be involved with the finishing process. We also mount photographs we produce in-house.”

In recent years, Pro-Set has moved away from large-format signage and more toward wedding and portrait photographic output. As such, mounting and laminating no longer represent as large a percentage of its business. “We use mounting and laminating as an added value for the overall job, if produced in-house,” Deley explains, while “outside jobs offer us the ability to gain even if we didn’t receive the initial printing order.”