tips for dry mounting ink jet prints

[Raymond Bleesz]

I have been dry mounting traditional silver gelatin prints to archival boards for a good number of years & I have my "system" down pat.

However, I will have ink jet prints now--for display.

What suggestions do forum members have regarding "dry mounting", "floating", hanging prints or other? I still like the idea of dry mt overall.

The use of ink jet prints for display is totally new to me. If you can provide info re: this matter, it would be appreciated.

Raymond

[Gem Singer]

I haven't found the need to dry mount my inkjet prints.

Since they don't curl like fiber base prints, I have been mounting them on baseboards with small squares of thin archival double-backed tape.

The 1/2 inch squares of DB tape come in a roll. Using 5 squares to hold an 11X14 print onto the baseboard. Then covering with a cut-out mat and framing the print.

So far, so good.

[Brian Ellis]

As Gem says, the paper on which you make ink jet prints doesn't curl so there's no need to flatten it in a dry mount press. I attach the print to the mat board with two short strips of an "archival" tape that I buy from Light Impressions and place it at a 45 degree angle across the upper left and right hand corners of the print. That seems to do the job just fine. One of the better days of my life was the day I sold my dry mount press and all the related paraphernalia.

[Steven Barall]

I have never put an inkjet print into a dry mount press and I probably never will because several months ago I gave my Seal press to a scrap metal guy. It certainly is worth a try though so just do it. I would be curious about the result and please tell us which paper and ink you used for the print. Good luck and have a nice day.

[rdenney]

Ditto for me. I have noticed that the inkjet prints are not perfectly dimensionally stable, however. This is to be expected with any paper product. So, I mount the picture using photo mounting tape in a strip across the top, only covering about half the print. That way, the print can expand and contract between the mount board and the mat without wrinkling or buckling. The key is to only use one piece of tape.

Also, don't stretch the tape. Just lay it along the edge under its own weight and then press it straight down. When I've accidentally stretched the tape, I've had it pull wrinkles into the paper as it has tried to relax to its original length. The objective for me is zero residual stress.

Rick "who does not miss working with the big Seal press" Denney

[Jeremy Moore]

I have drymounted prints on Epson Luster paper and Museo Silver rag. They were all printed with an Epson 7800 or 9900 and still look fine. These were just for display so I don't know what happens to Epson inks when heated up for drymounting.

[jim kitchen]

Dear Raymond,

I dry mount every image, whether it is an inkjet image or not, and my conservationist uses a vacuum dry mount press, such as this one:

http://www.laminatorstore.com/VacuSeal_Vacuum_Press_51_10150.html

That said, it is a low temperature vacuum press, which employs a protective cover over the image during the mounting operation. Unfortunately the protective material, which is similar to parchment paper happens to be costly, never reusable, and adds a ten-dollar touch to each mounted image. My images are free from any visual defects, above and below the surface of the image, where the defects could be imprinted by the pressure of the platen surface upon the image. The most obvious side benefit this low heat vacuum process provides happens to be the complete removal of any hot iron platen's direct contact with the finished image's surface.

I am not a fan of hinge mounting, nor taping an image, or using corners to locate the image within the matte, since too many of these configurations can become very unkempt over time, resulting from imperfect handling, imperfect bonding, humidity, and careless action from an incompetent "get-by-product" framer. Image presentation is extremely important to me. Dry mounting happens to be my only preference, and a preference that I enjoy continuously, as do my clients. If you are convinced to use another method, compared to dry mounting the finished image, I would humbly ask you to verify the author's qualification regarding that process, since your return rate may reach an uneconomical level, depending on your sales volume. This condition would be true for any dry mount process you may contract to a third party too.

Again, my opinion, my process... :)

jim k

[Bruce Watson]

[QUOTE=Raymond Bleesz;495946]What suggestions do forum members have regarding "dry mounting", "floating", hanging prints or other? I still like the idea of dry mt overall./QUOTE]

The Library of Congress system (http://www.loc.gov/preserv/care/mat.html) works just fine for my inkjet prints.

[vinny]

I'd like to know more about dry mounting inkjets as well. While I don't print my work on inkjet paper I may have a few to mount in the near future. I dry mount my lightjets and fiber b+w prints with a 1/2" border between the print and matt. I'm not the only one doing it this way with photo papers but I've yet to see anyone do it with inkjets. Is there a source for more info online about this technique?

[paulr]

I've done all mine exactly the same as my silver prints, with archival corner mounts. No glue has to be applied to the print.

This works fine up to 16x20 ... I imagine after a certain paper size you'd need something more supportive, like linen tape across the top.

[Jim collum]

the new baryta inkjet papers are the same paper/coating stock (minus the silver) as traditional silver fiber papers. I've found that drymounting those papers is the same as if you'd dry mount a silver print. same temps and precautions used. i haven't had any problems with surfaces/print quality after the mount

for fine art paper prints, then i mount them as i would a platinum print.. hinge mounts at the top

[Doug Dolde]

I drymount both paper and canvas prints from my 7900 with a medium size Seal 160 press at about 180 degrees for a minute, usually in sections since it is too small to cover anything bigger than 15 x 18. I use Bienfang Ragmount which is awesome. I cover the print with a Bienfang release board which is about 1mm thick.

I'd avoid Fusion 4000 since it bonds on cooling whereas Ragmount bonds on heating.

[QT Luong]

I don't know yet how to do it, however, I can attest of the usefulness for large prints. I was never entirely satisfied with the flatness of my 24x36 Epson Premium Luster prints, and had one dry mounted as a test. The improvement was noticeable.

[IanMazursky]

I use a dry mount press on occasion to flatten IJ prints. I use only rolls so its a necessity when they wont lie flat.
I haven't personally mounted with the press but i have had a few observations that might help.

IJ prints cant stand high temps, the coating can blister or the ink if not completely dry will come off.
My seal press is very old, i have no idea what the temp actually is but i set it to about 1/4 - 1/2 turn passed on.
I leave it in for a count of 60-90. Anymore and i have found that it sticks or starts to blister.

I use release paper mounted to a board on top of the print to prevent it from sticking and to prevent the pattern from the board imprinting itself into the surface of the print.
I have had the same release sheet for a year and its as good as the day i cut it. Although i did get the full roll from my grandfathers studio and its a much older then i am.

One of my clients routinely dry mounts IJ prints. Next time i go by, i will ask them for some tips.
I think the best way to go is to experiment with a bad print and see what happens.

[John Brady]

For all my work I use Coda cold mount paper and a 60 inch roller press. The Coda papers are archival and according to Coda when applied to a non archival board the adhesive on the Coda paper creates a barrier that then becomes archival.

The Coda cold mount paper comes in various roll widths and sheets. It is like a roll of double face tape with release paper. I use it for every size right down to 8x10.

This allows me to mount very large prints on rigid board such as mighty core. I have found large archival foam core warps with changes in humidity. It was a disaster at one outdoor show when it rained overnight and the inside of my tent was like a terrarium. With the rigid board this doesn't happen anymore.

All of my larger limited edition prints are on Harmon FB AL.

There are several different companies that make cold mount roller presses. Coda makes a very nice one but it isn't cheap.

www.timeandlight.com
www.gladesgallery.com

[Raymond Bleesz]

Thank you Gentlemen for your responses re: dry mt or not ink jet papers. Your suggestions are valid, but a question comes up, or two.

In dry mounting to an archival board, I typically use the back side of the board to stamp my name, address, title, Copyright notice, date, etc. The print & board are as of one unit over time. Not that my print will wind up at the Libary of Congress or other institution, but the info may be of use to someone after I'm gone.

In an experiment, I stamped the above info on the back side of a digital print (Epson) and it bled through-----something I will not do again. So, if one were to use "hinge" or tape or other, in floating an image to an archival board, and if one "stamps" the back side of the board with one's info, what's to prevent, at a future date, someone taking the print, removing the tape & hinges, and have a print without an "author". Again, I may be too critical, and I may be putting too much importance to "stamping one's own work". One can still do the stamp on the back side, but print & board are not "one unit". Comments????

One more note of importance--I may have answered my own question. I have a bw print of Edward Weston in my collection done by Willard Van Dyke which is "floating", with the author's signiature on the front matt. No one has removed the original print over the years.

[rdenney]

I have a bw print of Edward Weston in my collection done by Willard Van Dyke which is "floating", with the author's signiature on the front matt. No one has removed the original print over the years.

That seems to have been how Adams did it, too, and that's what I've seen from the other photographers I've collected.

If you want your personal information directly on the print, however, you could just leave a two-inch tail on the end of the paper outside the image area, and include the same information right in your digital image. That way, it prints on there with the same ink used to make the image. It would, of course, normally be hidden behind the mat.

You can also sign the print itself, even in the visible area if you so choose, if you use paper that will accept ink. A technical pen uses india ink, which will not go away nor will be undermine whatever archival steps you have taken.

In the past, I mounted RC prints using 3M spray photo mount adhesive, which is supposedly archival. In the couple of decades since implementing that practice, they are still going strong with no ill effects that I can tell. It doesn't work for really big prints, but I have frame 16x20's that have worked just fine that way. It's a bit fiddly--for big prints one has to spray both the print and the mount board, which requires masking, though I sprayed only the print for 11x14's I made for a portfolio and those have held well.

But I'm not sure I would use the spray stuff for fiber papers. The RC stuff has a mostly impervious plastic layer between the back of the print and the emulsion, and a fiber print does not.

For inkjets, though, (fiber or RC) I have just used archival photo-mounting tape as a hinge well outside the image area, and hidden by the mat.

Rick "who has seen this approach used by many photographers selling prints at shows, etc." Denney

[Jim Jones]

A Seal press and Bienfang Colormount tissue work fine for floated Epson 3800 prints on various Epson papers. The uncalibrated thermostat is set at 180. A sheet of mount board protects the print surface from a much abused platen surface. This increases the bonding time to a few minutes. Ocassionally, just for temporary use, I hang prints behind a window mat.

[Jim Becia]

I have used 3M's PMA (positionable mounting adhesive) on all my prints. No heat necessary, you burnish it on the print, position the print on your mounting board, then burnish it onto the the board. I have been using this method for over ten years and have not seen any adverse effects. Photos have survived in my garage in zero degree temps during the winter and 90 plus degrees in the summer. The PMA comes in rolls up to 24 inches. Supposedly archival, however, I'm more concerned about flatness and look rather than my work lasting for posterity. None of the "orange peel" effect of using dry mounting or vacuum press machines. Now I tend to use luster papers (Lexjet) and the print looks perfectly flat when mounted with PMA. No need for special equipment. I have mounted prints up to 32x40 and 24x60 using PMA with great results. (I have a friend with a vacuum press and I prefer the look of PMA over the dry mounted results.) Hinging allows the paper to flex, expand, and contract, (which it is supposed to) and look uneven, specially lusters or glossy type papers. My opinions only. Jim

[Kirk Gittings]

Where are we at now? IME any print approaching 16x20 or larger, will definitely warp with temperature and humidity changes looking unsightly. I have a show coming up with mat Piezography inks on Innova Photo Smooth paper 315gsm. They will be hung for a year in a high visibility museum show (ie controlled temperature and humidity), but possible warping still haunts me.

I have no experience dry mounting mat ink prints, aside form the obvious (low heat tissue etc.) anything else I should look out for?

[Tyler Boley]

Kirk, I don't think we're much farther along, at least to my knowledge. One thing about your upcoming work though, I never see a warp in matte prints, the surface just doesn't reflect it back, and I've seen many quite large...
Tyler

[Kirk Gittings]

Tyler, Thanks, I never considered that-the matte ink factor, Hummmmm. Maybe I don't need to dry mount these? I would hate though to walk into the show after two months and see warping.

These prints are 16x20 image size with a three inch in border, making the paper size 22x26. They are mounted on a 26x30 board with a window cut of 20x24. Hinge mounting IME does not really allow much movement of the print as the window mat restricts swelling and contracting via the pressure of the mat.

[photobymike]

I have considered getting a dry mount press again. It just is not cost effective way to mount for me. First, my customers do not really care how a print is mounted. Well 99% anyway. On the small prints i use a product called Prestex by Savage. This does a great job for me, and my customers like it. It is like a cold dry mount. I have not seen the archival test on this product, but it is acid free. On my 20x24 and larger i use both hanging tape on the mat backing, with a double think mat. I use glass or plexiglass on the front and back to keep it light. One quick note.... I let my inkjet prints dry or age for 3 or 4 weeks before sealing in a frame. I have seen residue form on the front glass from the print if i frame right away. (Epson 4800 7800)

[jon.oman]

The Library of Congress system (http://www.loc.gov/preserv/care/mat.html) works just fine for my inkjet prints.

Thanks for the link.

[Tyler Boley]

Kirk, I don't think you'll have any problems. My most common size is a 28x19.74 image on a 35x24 sheet, corner mounted then held down with a 4 ply matte in the framing sandwich. I imagine the print is not in complete contact with the backing piece everywhere, but there is never the appearance of warp or buckling. The occasional odd larger size or shows of large client prints I've seen always look great too. A surface with any reflective quality at all I'm sure might be different though as warping would be easy to see.
I'd never put these matte papers in a dry mount press, handling has to be so careful, and they are so easily damaged, that just seems like potential disaster.
Photo surfaces seem to necessitate some kind of mounting though, in larger sizes. I have yet to hear of a method for those papers people feel really confident about for longevity purposes. But because I've not heard of it doesn't mean there's not something out there now...
Tyler

[Chris Strobel]

Well since this thread popped to life again, I'm wondering what the current trends are on mounting the baryta papers.Even my Harman FB AI 13x19 prints curl at the vertical edges after a while, so I really need to mount these if I'm to show them.Is the conventional Seal press and dry mount tissue still the best way for these glossy inkjets?

[Drew Wiley]

Paul - you'd never want linen tape across the top because it will not allow the paper
to expand and contract at the same rate as either it or the mtg board. You either need some kind of flexible hinge mtg support like traditionally used for etchings or complete adhesive mtg so nothing can wrinkle. In other words, the paper either needs
to float or needs total flat bonding. Part of this is an esthetic choce. Matte papers which look like watercolor papers or handmade rag often have a character of their own
and a certain amount of exposed edge "deckle" if often appropriate. Conversely, higher
glass papers can be unpleasant if there is any visible wrinkling or exposed margins.

[bob carnie]

Chris
we are cold mounting and hot mounting inkjet prints, my framer prefers working hot , cold is faster but he likes hot.
we have a 40x60 hot press that we can control the pressure and temp.
everything is always sandwiched between clean rag board.
The Harman curl is very problematic .

Well since this thread popped to life again, I'm wondering what the current trends are on mounting the baryta papers.Even my Harman FB AI 13x19 prints curl at the vertical edges after a while, so I really need to mount these if I'm to show them.Is the conventional Seal press and dry mount tissue still the best way for these glossy inkjets?

[Brian C. Miller]

Kirk, I'd go with what Bob recommends. I had a 40" panorama mounted both full bonding and floating. The full flat bonding produced the best mount, while the floating mount shows a bit of warp in the paper.

[Wally]

I have used 3M's PMA (positionable mounting adhesive) on all my prints. No heat necessary, you burnish it on the print, position the print on your mounting board, then burnish it onto the the board. I have been using this method for over ten years and have not seen any adverse effects. Photos have survived in my garage in zero degree temps during the winter and 90 plus degrees in the summer. The PMA comes in rolls up to 24 inches. Supposedly archival, however, I'm more concerned about flatness and look rather than my work lasting for posterity. None of the "orange peel" effect of using dry mounting or vacuum press machines. Now I tend to use luster papers (Lexjet) and the print looks perfectly flat when mounted with PMA. No need for special equipment. I have mounted prints up to 32x40 and 24x60 using PMA with great results. (I have a friend with a vacuum press and I prefer the look of PMA over the dry mounted results.) Hinging allows the paper to flex, expand, and contract, (which it is supposed to) and look uneven, specially lusters or glossy type papers. My opinions only. Jim
I use this stuff as well. It works really well for me.

Here's a link: http://solutions.3m.com/wps/portal/3M/en_US/Graphics/Scotchprint/Prod-Info/Catalog/?PC_7_RJH9U5230GE3E02LECIE20S7M3_nid=X5C4MH9W0Dbe2X45PZSQV2gl


// Wally

[Drew Wiley]

PMA is a low-tack pressure-sensitive adhesive. In the long term you take your chances
with anything bigger than 16x20. The corners are especially prone to lifting. Much
easier to work with than a high-tack acrylic foil, but also a much weaker bond. Just
depends on how much the differential of expansion and contraction between the print
medium and its substrate.

[bob carnie]

For problem mounts , or jobs where orange peel factor , gloss work , we will us Seals
face mount cold adhesive, It is very good material for sensitive work.

Kirk, here in Toronto we experience the four seasons, which means very humid in summer months and extremely dry in winter. It can drop dramatically over night , usually around November 15th, and kicks back up mid April , early May.
I imagine New Mexico has somewhat the same type of conditions where there can be drastic humidity changes.
We have now installed a humidity system that keeps our facility averaging out around 40% and we can kick it up or down depending on the type of work we do.
For high quality mounting we believe humidity is needed , also the machine itself should have a device to
pull the static off it, specifically when working with large rolls of adhesive that create static*dust magnets* as it unrolls onto the board or the face of a print.
We are trying to up date the mounting shop each 6 months with new ideas to solve dust and print curl.

If you are displaying in an area that has the same humidity as where the prints and frames are made , the heavier matt papers as Tyler points out will give you no problem with a good overmatt holding in place,but if you are not in a position to dictate the humidity of where the prints are being hung , then I would have some concerns.
We mount most projects for this very purpose, On my walls I have hung over 50 Hero prints from past shows and you can easily pick out the fibre base prints that were not mounted.
I have been inkjet printing now for about 6 years so a bit more time will tell on how they stand up but I think they will have the same problem.. Now I am talking about prints 20x24 >>
If your image area is in the 16 x20 range and matt surface I believe you should be ok to hinge tape behind matt and glass.

[Kirk Gittings]

Thanks Bob, they are for a museum show, the new museum in Santa Fe. Since it displays allot of historic artifacts, I believe it has controlled humidity. I rolled the dice and delivered the prints as per Tyler's suggestion. I worry about putting any pressure on mat ink prints-the surface is so delicate. I think, after some testing, that he is absolutely right-minor warping on mat prints is virtually unnoticeable.

[bob carnie]

Would like to see the show, how long is it up?
Laura , Barney , Lucy and I are going on a bit of a road show to see the Brett Weston show if we can this summer out west somewhere , not out of the question to drop down to Sante Fe .

I think you will be ok since it is humidity controlled, you can sleep at night.


Thanks Bob, they are for a museum show, the new museum in Santa Fe. Since it displays allot of historic artifacts, I believe it has controlled humidity. I rolled the dice and delivered the prints as per Tyler's suggestion. I worry about putting any pressure on mat ink prints-the surface is so delicate. I think, after some testing, that he is absolutely right-minor warping on mat prints is virtually unnoticeable.

[Drew Wiley]

Exactly why, whenever I'm experimenting with a new mounting system, I hang samples
in different climates, and even preferably at different altitudes (which can affect face-
mounted or hermetic assemblies). I've got numerous failures laying around as evidence
of things gone wrong, and from time to time haul these to the dump along with scrap
materials. Controlling humidity in my own shop would be prohibitively expensive energy
wise. Traditionally, we have stable humidity here in the fall, but the last few years all
the stereotypes have been broken and it's been cold and wet almost all year long.