Dry Mounting / Release Paper Question?

[CreationBear]

Excellent, most appreciated.

 

[GregY]

use a medium heat teflon tacking iron to immobilize a place in the center of it

Just so I understand correctly, the tacking iron touches the paper emulsion without blemishing it? At any rate, thanks for taking us through your process.

No... the dry mount tissue is attached to the back of the photograph
...release paper is placed between the iron and the drymount tissue.....so the tissue doesn't stick to the iron.

 

[CreationBear]

That’s the way I’ve seen it done (at least on YT ) but if I understand correctly, Drew‘s approach is a bit different, especially when registering the print on the mat board.

 

[DREW WILEY]

Yes, my custom is different, easier, and more precise. After pre-drying the print, the mounting tissue (trimmed just slightly smaller to prevent any overlap), is tacked to the back of the print using the taking iron with a tiny slip sheet of silicone release paper in between. Then the tissue is permanently bonded to the back of the print in the mounting press, obviously with a full oversized sheet of release paper in between the back of the print and the reusable matboard sandwich itself.

When that has cooled off under weight, the resultant print/tissue ply is trimmed together, at exactly the same size. Then comes the final procedure. Once the print is precisely positioned where I want it on its mount, I briefly immobilize it using the tacking iron on the face of the print (but no release paper in that case!). Then into the press for the final time.

 

[GregY]

That’s the way I’ve seen it done (at least on YT ) but if I understand correctly, Drew‘s approach is a bit different, especially when registering the print on the mat board.

Well you always have to tack the print/tissue to the matboard by using the iron on the face of the print.... i can't see how you can do it any other way. I use release paper for that maneuver as well

 

[Brendan Quirk]

See attached. I have mounted maybe a thousand prints with this.

 

[Brendan Quirk]

Well you always have to tack the print/tissue to the matboard by using the iron on the face of the print.... i can't see how you can do it any other way. I use release paper for that maneuver as well

I tack the tissue to one edge of the print using a small piece of reelase paper. Turn over, and align on mount, and small tack on the mount. Then assembly goes into sandwich and press. The tacking iron only ever touches release paper.

I have never had release paper coating melt - it usually is crosslinked silicone compound. Used for direct coating by 350F hot melt adhesive.

 

[GregY]

I tack the tissue to one edge of the print using a small piece of reelase paper. Turn over, and align on mount, and small tack on the mount. Then assembly goes into sandwich and press. The tacking iron only ever touches release paper.

I have never had release paper coating melt - it usually is crosslinked silicone compound. Used for direct coating by 350F hot melt adhesive.

BQ. I tack the adhesive to the print & then trim the excess adhesive along with the white border off the print.... then tack to the mat board

 

[Brendan Quirk]

BQ. I tack the adhesive to the print & then trim the excess adhesive along with the white border off the print.... then tack to the mat board

Exactly as I do, but I mentioned that in an earlier post. It means sacrificing a little print, but gives a perfect match of the tissue to the print. No blead out, and no lift.

 

[DREW WILEY]

I already clearly explained why it can be risky to use release paper directly against the face of the print. You could substitute a thin sheet of archival museum board without the same risk.

 

[Carnie Bob]

I had issues with release paper leaving marks in the print, like Drew I use 2ply rag board , which allows the heat to get through.
But lately I have had a ton of issues with the new and improved drytac tissue with silver gelatin prints.

 

[DREW WILEY]

I'm using second generation Drytac Trimount without any problems. The only thing I can think of is that it needs a little more dwell time in the press; but you don't want it too hot in there. I let my sandwiching sheets of 4-ply board cool off a little bit before using them for another print. Hard to say, since this is such a different climate than yours.

 

[TmRn]

I think the point of the release paper is if the adhesive bleeds over the edge it will not stick to anything. While I have always used release paper, in decades I have never seen the adhesive bleed. Perhaps it is because I trim the print after tacking to the tissue, so both print and tissue are exactly the same size. The adhesive, while it does not melt, is probably formulated to a high viscosity, so it doesn't really flow sideways in the time it is molten.

I too have always used release paper and have never seen the adhesive bleed. But I remember dry mount presses in college and community darkrooms where there was gunk all over the platens, so it does happen.

 

[DREW WILEY]

The fly in the ointment with those old Seal instructions is the mention of common Kraft paper. In this day and age, that would certainly be "Archival taboo".

Release paper directly against the face of a print actually has two risk factors directly atop the face of a print. I already mentioned the risk of
silicone transfer - once that get into the emulsion, it's not getting out.
But second - the release surface to the paper eventually wears off, and then what remains of the paper might outright bond to the face of the print if you use a particular piece of release paper just too long.

And you sure don't want release residue building up on the platen surface itself - but that's just wrong technique anyway. Older presses sometimes produce uneven heat - you can get hot spots and cooler spots. Placing a sheet of matboard between the heated platen and the material being pressed helps the heat distribute more evenly, and also reduces the risk of emulsion indentations from undetected grit particles.

 

[Brendan Quirk]

The fly in the ointment with those old Seal instructions is the mention of common Kraft paper. In this day and age, that would certainly be "Archival taboo".

Release paper directly against the face of a print actually has two risk factors directly atop the face of a print. I already mentioned the risk of
silicone transfer - once that get into the emulsion, it's not getting out.
But second - the release surface to the paper eventually wears off, and then what remains of the paper might outright bond to the face of the print if you use a particular piece of release paper just too long.

And you sure don't want release residue building up on the platen surface itself - but that's just wrong technique anyway. Older presses sometimes produce uneven heat - you can get hot spots and cooler spots. Placing a sheet of matboard between the heated platen and the material being pressed helps the heat distribute more evenly, and also reduces the risk of emulsion indentations from undetected grit particles.

I've definitely had to retire release paper from overuse. I had an unlimited supply from scraps from coating applications, and have yet had to purchase any!

 

[snusmumriken]

@chuckroast, I just use baking parchment from the kitchen. I have used the same sheet for a couple of decades. TBH, I didn't know, or had forgotten, that anyone sells 'special' stuff for photographic purposes.

 

[Bill Burk]

No... the dry mount tissue is attached to the back of the photograph
...release paper is placed between the iron and the drymount tissue.....so the tissue doesn't stick to the iron.

For that purpose you could get enough release paper from a pack of stamps