Digital BW, The Print

Hello,
This is a response from 3M regarding the film.  They now make an 
acid free version.    
"Thank you for your interest in our Scotch (R) Cat. 568 Positionable
Mounting Adhesive.

This product is available in two formulations; our original formula, 
and
the new, acid-free formula.

The original formula has been used extensively by professional 
framers for
many years; the acid-free version was developed in response to 
customer
requests for an acid-free product.

"Archival" is a claim not used on Scotch(R) brand adhesive products, 
since
there isn't an industry-standard definition or test procedure for 
verifying
this claim.

That said, both versions of this product will provide a permanent,
professional mounting adhesive, for bonding prints, photos, etc. to 
smooth,
high-quality mounting surfaces.

I hope that this answers your question; if you have additional 
questions,
don't hesitate to contact us again.

Regards,

Lucinda
3M Stationery Products Division"

HTH
Paul


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "outlaw07480" 
<outlaw07480@y...> wrote:
> 
> Arlene, I have been using 3M Positionable Mounting Adhesive to 
mount 
> Ilfochrome CLM.1K (that's the polyester stuff) to non-buffered 
board 
> for the past eight years.  I haven't had a failure or suffered any 
> discoloration yet.  I roll mime on with a Coda roller press.
> 
> 
> --- In 
DigitalBlackandWhiteThePrint@yahoogroups.com, "mark_gatehouse" 
> <mark_gatehouse@y...> wrote:
> > 
> > 
> > > I've used it for years for presentations, but not for  
archival 
> > > prints . If 
> > > it IS archival - someone -  please let us know, because it's 
so 
> > > easy and always 
> > > perfect.  No waste, and no machinery or tools needed except 
the 
> > little 
> > > plastic squegee included in the box. If it IS archival, it 
will 
> > > save a lot of money 
> > > & time.
> > >             Arlene
> > > www.arlenelove.com
> > 
> > Wilhelm lists it as the preferred method for permanent cold 
> mounting 
> > polyester based prints (as well as RC based prints) in his 
standard 
> > text on colour photographic materials (he also recommends 
against 
> dry 
> > mounting for colour and other materials for museum and archive 
> > collections)
> > 
> > Most Conservators would advise against most forms of dry 
mounting 
> for 
> > any kind of photogrpahic (or inkjet) prints for the long term. 
> Aside 
> > from the general lack of data about the long term effects of the 
> > adhesives as well as the effectiveness of the adhesives over 
time, 
> > the differentials of joining the two surfaces is problematic.
> > 
> > I once saw a lovely Ansel Adams print at the National Gallery of 
> > Canada which had been kept in non-archival conditions for the 
first 
> > part of it's life. Flexing over the years and differential 
> expansion 
> > and contraction between the print base and the backing mount has 
> led 
> > to small ripples in it. Even though it was mounted 
with "standard" 
> > mounting tissue it proved virtually impossible to repair.
> > 
> > Basically, for long term "archival" storage, just don't dry 
mount. 
> If 
> > you dry mount then it isn't "archival" (whatever the 
manufacturers 
> > claims might be). Most texts from conservation institutes will 
> advise 
> > against it. If you are dry mounting for display then it isn't 
meant 
> > for long term "archival" storage.