Drying fiber prints AND mounting

I know there is a sticky about drying fiber prints flat right above. I've read it several times.

Assume I can achieve reasonably flat prints at some point via one of the methods mentioned in the thread. Many of the posts there comment that even if you get a flat print, at some point, it acquires some curl in storage. Fair enough.

When it comes time for mounting and framing, what are you guys doing? I'd like to avoid dry mounting and would much prefer a window mount. For my RC prints, I T-hinge the print to the backing board and use a window mount over top. I like the way it looks and the simplicity of this mounting method. Will this be sufficient with a properly flattened fiber print, even if it's reacquired some curl? Or is this just a pipe dream and everyone here dry mounts their FB prints?

i live in south florida, probably one of the most humid places in the country. after flattening my prints in a hot press and immediately after putting them under books for a day or two i have framed them via corner mounts on 3 of the corners and a window mat laid over hinged to the back mat via linen tape. pictures make it much easier, but basically the print is free and not attached with a glue or tape, it just sits in the 3 corner sticky mounts. i then frame the prints of just leave them matted. at least with MGIV in 11x14, and MC110 in 8x10 this has not been a problem. my prints stay flat enough for everything i need. its been said before, there are those who dry mount, and those who dont, personal preference.

Ok that is good to hear.

Why do you only use 3 corner mounts? Why not 4?

I always struggle with this problem and can never decide between dry (or cold) mounting a print to a backing board or just let it hang by archival hinging tape.
For the most part I use the hinging tape method and overmat with a window mount. I always work on fibre paper and am pretty good at getting my prints dried nice and flat (some papers dry flatter than others). However there's always the odd occasion when a bit of cockling occurs due to humidity/temperature changes etc and it really annoys me. It looks worse depending on the angle of view and direction of lighting.
I'm often tempted to go down the drymounting path but the purist in me says that a fine print shouldn't be bonded to another substrate. I know you can use archival mount tissue and board, and that the process can be reversed but I still like the idea of a print being 'a print on it's own' as it were, and not 'married' to another material.

Bill

bill spears said:

I'm often tempted to go down the drymounting path but the purist in me says that a fine print shouldn't be bonded to another substrate. I know you can use archival mount tissue and board, and that the process can be reversed but I still like the idea of a print being 'a print on it's own' as it were, and not 'married' to another material.

Bill

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I tend to think people overestimate their potential gallery/museum-worthiness. Chances are 99% of people who don't dry-mount because they've been told curators can't stand it will never have their photography even seen by a curator in the first place. Additionally, one can always make a backup print which they store unmounted.

i use 3 instead of 4 corners because thats the way i was taught and i guess i just stuck with it. something with the print always having a corner to relieve pressure to, since its never truly flat. by putting 4 corners you are enclosing the print in which case and it can buckle if theres not enough room for it to lay flat.

Good tip. Thanks.

As far as the dry mount thing - I might be overestimating my gallery-worthiness by not liking dry mounting More importantly, I don't want to particularly invest in a press and all the dry mounting supplies. Doing FB is adding enough other stuff already, between the washing and drying requirements.

I used to dry mount, for the same reasons others do. I stopped for the same reason others have, and window matte (preferred by gallery owners, museum curators, etc.) True, my work may never be valued by a museum, but that isn't the only reason for impermanent mounting. A potential purchaser might prefer a re-framable print, and pass mine by in a show. They could inquire about a loose print, but might not. And if gallery and framing folks prefer this, it might help my work be accepted. The image is what counts, after all.
Another thing I've thought about over the years - photographers seem to be the only print makers, traditionally, who have worried about the flatness of their work in a frame. We see many intaglio, screen, litho, watercolor, etc works hinged and over matted (or even hung loose) with no apparent concern for flatness.
I over matte, hinged with linen tape, then back with acid free foam core. Any warping at the edges is minimal.
Just my 2c.

I dry mount and often overmat as well. I live in northern Indiana and for humidity or whatever the reason, flattened prints don't stay flat for long. They develop curls and waviness that look awful. Dry mounted prints stay flat and I like them that way.

Mike

i use 4 corners and a window mat and no problems so far. the largest i print is 11x14.

Although I don't have the talent or knowledge to have even carried Adams or Karsh's camera bag, who am I to argue with their methods? I dry mount. If I ever need future loose prints, I have the negative.

I dry mount only when necessary. Archival corners have become a reasonable alternative since also living in Miami,Fl I have had some mat boards (museum quality 100% rag board) that even though kept in air-conditioning and archival boxes develop climate stains.

Corner mounts or a linen tape hinge. Do something reversible.

Skip the Drying

After the wash sponge or squeegee dry the print then mount.
That is the wet mounting method. A wet print is as flat as
it will ever be. Dan

jeffrey, how long till your mats developed those stains? now im scared living in miami, lol. i have a couple things matted and framed that i would like to stay the way i made them, not develop stains on the wall, lol.