Mounting Photos

[alec4444]

THere is a reason that Seal is more expensive - it works. When corners are cut in this regard, problems will result.

Proven or speculative? I ask because I've only used Adorama's tissue for a few years. If you've seen it fail, do you know how long it took?

--A

[vinny]

As far as I'm concerned, if a photograph is not dry mounted and overmatted it is not finished.[/QUOTE]

I agree also. I've seen quite a few shows the last few years and nothing is more distracting than a wavy print. They look like unfinished work. Everything i've seen lately has been dry mounted or mounted directly to gatorfoam without glass. I wouldn't be happy selling someone a mounted and matted print if it wasn't try mounted.

vinny

[tim atherton]

Bear in mind that dry mounting is generally not considered to meet archival standards for photographic preservation. (for example, the LoC advises against it, and I still believe it is not acceptable under the HABS/HAER standards?) Any institutions which are taking photographs with an eye towards long term preservation won't recommend dry mounting.

[Stephen Willard]

I had a gallery sell 10 of my prints to a hospital about 5 years ago. They were all mounted using tape, and everyone of them separated from the tape and fell down into the mat. Personally, I have no confidence in tape. Every tape I have used for every application imaginable has failed over time, and this is why electrical code will not let electricians use tape for connecting wire.

I have also used dry mount presses, and they are expensive to buy, take up a lot of space, and are very time consuming to use. I have been using a photo spray adhesive made by 3M with excellent results. I have prints mounted with spray adhesive that are over 10 years old with no signs of failure or impact on the photograph. I use a cloths pin to hold the print on one side while position the other side of the print on the foam board. I then role it flat with a fair amount of pressure. I can mount a print in less then one minute, and I have mounted prints as large as 20x50 and 30x40 using spray adhesives.

I only use acid free foam board for mounting. Foam board is dimensionally the most stable material, and I have never had any prints damaged from foam board expansion or contraction especially the big prints. Foam board is also less likely to warp and pull away from the glass creating gaps between the prints and the border mat.

A lot of people frown upon spray adhesives, but lets face it, glue is glue no matter whether you dry mount or wet mount.

[jackies]

I was devastated in my first show - I had mounted my photos with archival tape on archival board. They looked fine in my home. Then the moisture was different in the show area and they all became wavy and looked HORRID. Needless to say I didn't sell much.

Now I dry mount or use PMA adhesive sheets and have a much better presentation. I never have used the spray adhesive but will probably try it on prints that exceed the capacity of my dry mount press if I ever try printing larger, or will give it to a local frame shop to do it.

Jackie

[Michael Kadillak]

Proven or speculative? I ask because I've only used Adorama's tissue for a few years. If you've seen it fail, do you know how long it took?

--A

The failure I was making reference to was not failure as a function of time but the fact that other tissues were not as "even" on the print surface coming out of the press almost as though the mounting tissue was not 100% uniform from corner to corner. The larger the print, the greater the potential issues at hand.

I never had this problem with Seal tissue as the product appears to have marvelous quality control and just works as intended. Michael A. Smith has a saying that I believe has an application in this context - "I make the best prints I can." The subtitle here is that one should use the best materials possible. If your current mounting technique or product works, then use it.

Cheers!

[wedgeland]

I can mount a print in less then one minute, and I have mounted prints as large as 20x50 and 30x40 using spray adhesives.

Might you give a few more details to this process? I have 36 x 36 prints that I need to mount. What brand of spray-mount did you use? Any specifics to the technique? How do you burnish such a large print nice and smooth without any air-bubbles, etc...

Also, anyone know of any businesses in the Washington DC metro area that does print mounting? I'm having a hard time finding a place, but I've been told that they're around here...

Thanks...

[Tim Hyde]

Also, anyone know of any businesses in the Washington DC metro area that does print mounting? I'm having a hard time finding a place, but I've been told that they're around here...
Thanks...

Yes, there are several. Call Chrome in Georgetown to get the best recommendation. I prefer Lamount in NYC but they are a bit more expensive.

[RichardRitter]

As far as I'm concerned, if a photograph is not dry mounted and overmatted it is not finished.

As a collector of prints I prefer that the prints be unmounted, signed and dated on the back of the print in pencil by the maker. Once the mounting board is danged the value of the print goes down and it is very hard to remount prints.

I sell all my work in corners. If you the buyer wants to dry mount it, its your to do what you want it.

[keith english]

I assume we are talking silver gel prints. I don't believe you can heat mount any ink-jet print, correct?