Fiber based paper thoughts

[JMO]

Is there a reason the color matters? I watched a video from Fstoppers where he mounted a print that was the same size as the board. I booked marked Archival methods, the 9x12 is on sale now lol. Also, anyone have experience with Neschen Gudy 831?. I was thinking of doing the cold mounting instead of heat activated.

I suppose that if the color or shade doesn't matter to you, then that's fine. But if you get a few years into this hobby and have prints on several shades of white and off-white mounting board, the point my LF friend was making is you might wish you didn't have such variety (which made sense to me). He also steered me away from my thinking about possibly using gray or black board. There are various, subtly different off-white shades offered by the various mat board makers for a reason, as each may (probably?) communicate something (again subtly) about you and your prints. Archival Methods offers an item for only a few dollars that is a selection of samples of all the colors/shades they sell, so you can make your own decision.

[Ron789]

I get slight ripples along at least one edge of many of my 11x14 prints flattened in a dry mount press. Not sure if the temperature is too high or somehow the pressure is uneven. It's a press that has seen a bit of use, I bought it second-hand from someone who acquired it for a local university photo department.

Uneven pressure might well be the cause. Or temperature too low? What temperature are you using? Are the prints really dry before pressing them? And what helps a lot: before pressing, cut away at least 1cm around the edges. After pressing, put them under weight (a large box of photo paper serves well) while cooling down.

[jp]

I get slight ripples along at least one edge of many of my 11x14 prints flattened in a dry mount press. Not sure if the temperature is too high or somehow the pressure is uneven. It's a press that has seen a bit of use, I bought it second-hand from someone who acquired it for a local university photo department.

Attachment 204098

Are you using two clean dry matboards to sandwich the print atop the pad?

[Pieter]

Uneven pressure might well be the cause. Or temperature too low? What temperature are you using? Are the prints really dry before pressing them? And what helps a lot: before pressing, cut away at least 1cm around the edges. After pressing, put them under weight (a large box of photo paper serves well) while cooling down.

I replaced the pad when I got the press, and I am using at least 4 sheets of mat board in the press, 2 clean ones (that I wipe down before every session) one on either side of the print. I can't seem to make the pressure adjustment that is described in the manual, so I think something is awry with that and giving me uneven pressure. I have replaced and calibrated the thermostat so I know it is certainly not too cool, I have it set hotter than what I believe is normal to flatten prints. After the press, I put the prints under a sheet of acrylic and pile on some half-dozen heavy books (large photobooks, of course) and leave them overnight.

[jtomasella]

I suppose that if the color or shade doesn't matter to you, then that's fine. But if you get a few years into this hobby and have prints on several shades of white and off-white mounting board, the point my LF friend was making is you might wish you didn't have such variety (which made sense to me). He also steered me away from my thinking about possibly using gray or black board. There are various, subtly different off-white shades offered by the various mat board makers for a reason, as each may (probably?) communicate something (again subtly) about you and your prints. Archival Methods offers an item for only a few dollars that is a selection of samples of all the colors/shades they sell, so you can make your own decision.

It would matter if the print is smaller than the board but I would think that would look funny. Then again I've never seen one mounted. Most prints I've seen are in a frame behind mat board.

[Drew Wiley]

The whole name of the game is to how to balance things to work together, esthetically. How you do that is integral to your personal taste and sense of composition, and not set by any book of rules. Does it somehow enhance the print itself, or detract from it? That is the key question, yet one containing many potential variables and personal choices.

[Duolab123]

I use a Pako Drum dryer, dry emulsion against the belt. You need to keep the belt clean (Pakor still sells them). Still I dry mount to a good board to keep flat. In the prehistoric era, drum dried prints were dunked in print flattening solution (various glycols) this would keep the paper base moist and prevent the gelatin side from curling up.
Pre prehistoric non curl film had gelatin on both sides to keep flat.

I remember when RC paper came out it was not great. Everything Ilford makes today is IMHO the best ever made, and that includes Forte Polywarmtone, absolutely beautiful but, dry down density change was enormous, and the voodoo split toning that made it so fun, was like soloing in a F-104 Starfighter, unforgiving!

The latest Ilford RC paper is amazing, the last Ilford MGIV is amazing. I use a Ilford Ilfospeed drier that just let's the gelatin flow out a bit, like baking a paint finish. The gloss is better than old ferrotype on fiber.

My reccomendation, before you go through all the washing, and drying and flattening, and mounting. Look for a used RC drier, but until then get yourself some of Ilford's new RC paper, some selenium toner, some demineralized water and a couple drops of Edwal LFN for your final rinse and a Paterson drying rack to let your marvelous Ilford NEW RC paper dry. Or just get a old dish rack.

Print borderless, buy precut mats, and tape your print to the back of the cut mat with Scotch brand magic tape.

And enjoy life. Ilford FP4 Plus would be a nice pairing.

[jp]

I replaced the pad when I got the press, and I am using at least 4 sheets of mat board in the press, 2 clean ones (that I wipe down before every session) one on either side of the print. I can't seem to make the pressure adjustment that is described in the manual, so I think something is awry with that and giving me uneven pressure. I have replaced and calibrated the thermostat so I know it is certainly not too cool, I have it set hotter than what I believe is normal to flatten prints. After the press, I put the prints under a sheet of acrylic and pile on some half-dozen heavy books (large photobooks, of course) and leave them overnight.

If you have not, try drying the mat boards a couple of times, as if you were drying prints, before drying your prints.