Dry mounting and the “orange peel” effect

[Ben Calwell]

I just dry mounted a black-and-white fiber based print (glossy surface) onto a smooth mat board, and I see what’s been described as the “orange peel” effect on the surface. I only see it if I hold the print at a certain angle to the light. It’s not especially objectionable; you have to really look for it to see it, but it’s there.
To compare, I looked at some prints that I hinge mounted with tape, and I see the same effect, but slightly less pronounced.
Is this just a normal characteristic of fiber-based glossy paper? I’m using Ilford Multigrade Classic, which I really like.
I thought maybe the dry mounting process somehow caused it, but I do see it on my prints that haven’t been dry mounted.
Also, I don’t have any “release paper”, so I used a clean piece of smooth mat board to protect the print in the press. Could that have caused the effect?

[bob carnie]

Yes , also depending on how much pressure you give... when pressing prints I error on a hotter press with less pressure and time.

[Drew Wiley]

All fiber-based papers have a degree of texture to them; likewise, all fiber mounting boards. The glossier the paper surface, the more apparent this will be with harsh incident lighting, which we would normally use only for nitpicky inspection rather than display. Basically a non-issue unless you're talking about ferrotyped prints or true high gloss ones on plastic rather than paper base. RC and poly-based prints don't do well with drymounting anyway. Release board should never be used atop a FB print when pressing - sometimes the silicone can transfer into the emulsion and leave an unremovable blemish. Using clean ragboard instead is correct. Likewise, silicone release paper should only be used to isolate mounting tissue from the heat source, to prevent the tissue from adhering to a tacking iron, platen surface etc. Release board is designed for (heaven help you) trying to preserve the gloss of RC paper when drymounting, but you'll still get orangepeel.