Dry mount adhesive recomendations

[ShannonG]

Hi its been many years sense ive used a dry mount press. So im relearning the process.Im looking for recommendations on dry mount adhesive for fiber paper.
thanks for any help
S

 

[David Allen]

Where do you live? - it has a great influence on giving a correct answer.

David.
www.dsallen.de

 

[Sirius Glass]

Location ==> +1

Welcome to APUG

 

[Ian Grant]

RC papers needed lower temperature dry mounting tissues so things changed however the lower temperature tissues are fine for FB papers as well.

Personally there's no way these days I'd dry mount a print it devalues it's potential worth.

Ian

 

[DREW WILEY]

Drymounting makes the print look professional, gives you something to handle besides the print itself, and actually protects the back of the print from atmospheric contamination, and to a considerable extent from things like acid migration too. Classic silver prints by famous photographers that sell for hundreds of thousands of dollars apiece are routinely been drymounted. So are entire museum collections in many cases. Customs might differ in different countries, but the notion that, correctly done, drymounting diminishes the value of fiber prints whatsoever is nonsense. As one of the galleries which featured my own work stated, the correct suit and tie upgrades the value if you're trying to compete in good company. Sure, something like a platinum print on rag paper might look more appropriate hinged like a watercolor, but
who that heck wants to view a glossy silver print all wavy or wrinkled. I've always preferred Colormount - not for color prints, but for fiber-based black and white work. Very dependable.

 

[DREW WILEY]

Location means little if your technique is correct. You need to briefly predry everything in the press during the work session to get water vapor
out. There are all kinds of tutorials by picture-framing associations and even the manufacturers of the mounting tissue itself. If things are especially humid you need to be a little more religious about doing this print by print, while in a desert climate the game is a bit more forgiving. But the general protocol is the same regardless. I can drymount any season of the year with completely dependable results, and I happen to live
in a coastal climate that is downright foggy all summer but often dry in winter.

 

[Lachlan Young]

Drymounting makes the print look professional, gives you something to handle besides the print itself, and actually protects the back of the print from atmospheric contamination, and to a considerable extent from things like acid migration too. Classic silver prints by famous photographers that sell for hundreds of thousands of dollars apiece are routinely been drymounted. So are entire museum collections in many cases. Customs might differ in different countries, but the notion that, correctly done, drymounting diminishes the value of fiber prints whatsoever is nonsense. As one of the galleries which featured my own work stated, the correct suit and tie upgrades the value if you're trying to compete in good company. Sure, something like a platinum print on rag paper might look more appropriate hinged like a watercolor, but
who that heck wants to view a glossy silver print all wavy or wrinkled. I've always preferred Colormount - not for color prints, but for fiber-based black and white work. Very dependable.

The key thing that matters to conservators is reversability, be it glues, dry mount tissue, tapes etc. If anyone gets really worried about the effects of the environment in which the work is hung, there's a company in Germany that makes atmospherically sealed frames...

 

[walbergb]

I can recommend Expressions Colormount or Buffermount. I'm not an expert, but I do drymount all of my prints--fibre and RC. I use both a large roll (Buffermount) and individual sheets (Colormount). I find them both easy to work with, although I do have to be more precise with the sheets (I don't trim my prints, but use a large border and an overmatt instead). The Buffermount has the advantage that it requires a low temperature to melt the glue, which reduces the chances of damaging the print. Also, unlike Colormount, Buffermount is reversible, if that is important to you. Both provide a buffer between the print and the backboard as Drew describes.

 

[David Allen]

Location means little if your technique is correct.

Location plays a great deal in terms of availability of materials. Here in Germany it is impossible to buy dry mounting tissue cut to size - you have to buy it by the roll which is both expensive and inconvenient.

As a general rule, the choice of tissue and board should both have a PAT certificate.

I mount all of my prints - I dislike wavy looking prints in window mounts.

Bests,

David.
www.dsallen.de

David.

 

[RalphLambrecht]

Hi its been many years sense ive used a dry mount press. So im relearning the process.Im looking for recommendations on dry mount adhesive for fiber paper.
thanks for any help
S

I've always uaed Colormount for any paper and was never disappointed

 

[RalphLambrecht]

1++.There is only one valid argumentagainst dry mounting,which is that a gallery wants reversibility,but if a gallery refuses your work onlybecause it is dry mounted,don't worry about it and go someplace else.

 

[removed account4]

i drymounted things in the 1980s and was supervised by the professor ..
fiber prints i think it was seal dry mount tissue, and over the years some of the prints
have released from the 2ply board.
i agree it does look nice and it offers something to hold onto and may prevent
contaminants from the back of the print but i would rather use acid free linco corners
(they are starch celluloid i think ) and make a window mat, and put the print's corners
in the corners so it can be removed from the 4ply back 8 ply window. i also would rather make a book of
photographs ( hand bound, hand made ) and tip the images on the pages than dry mount.

everyone has their preferences and these days i don't really see a point in dry mounting.