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Exactly. My point was we should not be surprised that Friedlander would have done this himself or that it was out of the ordinary somehow. I have actually seen prints mounted this way and I think they look very elegant, with semi-glossy surface of the FB silver gelatin contrasting with the rich texture of slightly warm cotton papers.
I guess the other advantage of dry mounting a fiber-based print is that it will lay perfectly flat, although flattening them in a dry mount press and then using a window mat gets you pretty much there too.
Sorry but Gatorboard is absolutely the worst product to be using ..Gatorfoam is far more rigid than other synthetic materials, is said to be "archival and acid-free" ... a favorite of galleries that now mostly exhibit large prints (because photographers often favor them).
https://www.dickblick.com/products/richeson-gator-foam-premium-pastel-surfaces/
I just saw an astounding flush-mounted 30X45 (guesstimate) DANNY LYON print at Etherton ....Gatorfoam.
https://ethertongallery.com/profile/danny-lyon/ (this image is not my favorite Danny Lyon)
Some folks like to hold prints in their hands, but I hang them on walls because I like visitors to see them in good light and without handling. My primary size is 13X19 because my printer won't go bigger. I find that most top quality inkjet paper lays flat no matter humidity.
Actually looks to be cold pressed watercolor paper that have been run thru a press to create a flattened (embossed) rectangle in the middle. The silver gelatin print was then dry-mounted in the center of the embossed area. The whole sheet of watercolor paper was then tipped onto mount board using corners.Looks like hot pressed watercolor paper to me. You can buy that stuff pretty thick (600 GSM isn't too hard to find). You can buy it in acid and lignin free, so it can be archival.
Sorry but Gatorboard is absolutely the worst product to be using ..
I should add a solution rather than just poo poo a product... Almost every artist exhibiting large prints are using #1 diabond.. Followed #2 Sintra Followed #3 Museum Rag 4 and 8ply
I like the finality of a dry-mounted print. I still have some of my first dry-mounted prints and they are as good as when I made them. They don't move around or warp because of moisture or temperature as some of my inkjet prints do time to time, mounted with the hinges like they recommend these days. Still though I probably won't go back to doing dry-mounting, not because the museum called and asked me not to (yeah right!) but because the alternate methods are just simpler.[/QUOTE
I don't find that good inkjet paper (e.g. Hahnemeule, Moab, Ilfor, Canon's various papers, ) warps with humidity changes. That applies to both 100% cotton and cellulose. What inkjet paper has caused you flatness problems?
I don't do ANY mounting with mine (which remains flat without mounting): I display behind glass, using spacers around edges to distance the glass from the paper when planning for long term.
Can you please provide a few names of artists who currently use gater board ?Have you surveyed "almost every artist" ?
Do your research.. first off try Wilheims book on this 1995 era.. then approach Museum and ask for their policy... Gatorboard has stopped being use in the industry since 2005.. sorry I can only lead you to the water... you know the rest.What do you mean by "large prints?"
I wonder what Avedon used for his?
Have you surveyed "almost every artist" ?
Bob, please provide a non-goofy comment.
What's your experience with Gatorboard? What have YOU found to be better for mounting 30X45" prints (like Danny Lyon's)?
Actually looks to be cold pressed watercolor paper that have been run thru a press to create a flattened (embossed) rectangle in the middle. The silver gelatin print was then dry-mounted in the center of the embossed area. The whole sheet of watercolor paper was then tipped onto mount board using corners.
This a very nice way to make a set of prints for a portfolio set as it reduces the bulk of the set. And it looks very cool and professional. Prints in portfolios of this type were not made to be framed, but to remain as a set -- and viewed as shown in the video -- thus the mounting requirements/methods are different than framed prints.
Dry-mounting has it's advantages. Someone already mentioned flatness. The other advantage, especially for mounting on thin paper, is that is creates a waterproof and air-tight barrier between the environment and the back of the print. Dry-mounting does not damage or shorten the life of the print itself -- its main disadvantage is making it difficult to remount the print if the mounting material gets damaged, or if the print itself must be washed.
Love Stettner's work. The recent retrospective at SFMoMa was terrific.My friend, the late Louie Stettner, years ago warned me that dry mounting a print using tissue greatly reduced its cash value. Since then I have only used my press for flattening photographs, warped pages, etc.
This is very interesting! Thanks for the info!Actually looks to be cold pressed watercolor paper that have been run thru a press to create a flattened (embossed) rectangle in the middle. The silver gelatin print was then dry-mounted in the center of the embossed area. The whole sheet of watercolor paper was then tipped onto mount board using corners.
This a very nice way to make a set of prints for a portfolio set as it reduces the bulk of the set. And it looks very cool and professional. Prints in portfolios of this type were not made to be framed, but to remain as a set -- and viewed as shown in the video -- thus the mounting requirements/methods are different than framed prints.
Dry-mounting has it's advantages. Someone already mentioned flatness. The other advantage, especially for mounting on thin paper, is that is creates a waterproof and air-tight barrier between the environment and the back of the print. Dry-mounting does not damage or shorten the life of the print itself -- its main disadvantage is making it difficult to remount the print if the mounting material gets damaged, or if the print itself must be washed.
What do you mean by "large prints?"
I wonder what Avedon used for his?
Have you surveyed "almost every artist" ?
Thanks Vaughn for the definitive post on OP's question. Looks like the rest of the thread has gone tangential now....
My pleasure. Once posts have been effectively covered, I like the tangential movement in the posts...especially when dedicated and experienced pros like Bob can add to the conversations.Thanks Vaughn for the definitive post on OP's question. Looks like the rest of the thread has gone tangential now....
Once posts have been effectively covered, I like the tangential movement in the posts...especially when dedicated and experienced pros like Bob can add to the conversations.
Incredible installationI'm not sure Avedon's large prints were mounted.
I have the book of these images... I respect Avedon's work.And I love the way the guy's head goes into the notch of the left image -- one of the reason I show the film rebate of my platinum prints.
Wonderful Example Vaughn,I think it is a good possibility, as he prints full-frame and obviously knows what the camera/lens is seeing. When I photograph, I know it is a possibility. For me, the sides and corners of the image are as important to image as the center...and I know that the notches will be part of the image. The center can not exist without the corners and will not be as powerful if the corners are not taken into serious consideration.
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