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dry mounting techniques

dry mounting techniques

2005-09-15 by kipduff

Dear Group:
I believe that generally it's not advisable to drymount any type of
"fine art" pictures, but I really prefer to see the photos flat,
glossy, on a hard board, and not behind glass.  Thru
the years I have frequently drymounted traditional photo prints
(Ilford Galerie/Agfa Insignia) on matts or 1/8 of 1/4" Masonite. 
Someimtes I bond archival watercolor paper to the Masonite and then
mount the photo onto that.  Now I'm drymounting B&W prints (Epson
Ultrasmoothe Fine Arts paper) from my Epson 4800/K3 inks on 1/8"
masonite. I
print my pictures (usually 16 x 20") full frame from 8x10 negatives,
and the board is the same size as the picture.  I'm using a
Seal 210M press set at 200F and pressing the assembly for about 5
minutes.  I'm using some old Seal RC tissue for now.  I'm also
experimenting with different varnishes- I'm applying the varnish after
the print is mounted on the board.  Havn't really settled on any
brand or
product yet.  I'm kinda flying by the seat of my pants on all this. 
Is anyone else using Seal or any heat/pressure mounting
devices/tissues with inkjet papers?  I'm considering double layers of
drymount tissue.  Any input on best tissue brand,
pressing times/temperatures, technical resources, archival issues
would be appreciated.
 Thanks, Kip.

RE: [Digital BW] dry mounting techniques

2005-09-15 by Ken Carney

Kip,

I have the same press.  I just use low-temp Seal Colormount tissue at about
200F, but I'm done in two minutes.  I just flex the mat board when it comes
out of the press to be sure all the corners are adhered - if not you can
stick it back in the press for a while.  No problems so far with inkjet
prints.  The only critical part of the process I've encountered is being
sure the museum board on top of the assemblage, i.e., contacting the print
surface, is really really dry...and clean.

--Ken Carney
Show quoted textHide quoted text
> -----Original Message-----
> From: DigitalBlackandWhiteThePrint@yahoogroups.com 
> [mailto:DigitalBlackandWhiteThePrint@yahoogroups.com] On 
> Behalf Of kipduff
> Sent: Thursday, September 15, 2005 5:51 PM
> To: DigitalBlackandWhiteThePrint@yahoogroups.com
> Subject: [Digital BW] dry mounting techniques
> 
> Dear Group:
> I believe that generally it's not advisable to drymount any 
> type of "fine art" pictures, but I really prefer to see the 
> photos flat, glossy, on a hard board, and not behind glass.  
> Thru the years I have frequently drymounted traditional photo 
> prints (Ilford Galerie/Agfa Insignia) on matts or 1/8 of 1/4" 
> Masonite. 
> Someimtes I bond archival watercolor paper to the Masonite 
> and then mount the photo onto that.  Now I'm drymounting B&W 
> prints (Epson Ultrasmoothe Fine Arts paper) from my Epson 
> 4800/K3 inks on 1/8"
> masonite. I
> print my pictures (usually 16 x 20") full frame from 8x10 
> negatives, and the board is the same size as the picture.  
> I'm using a Seal 210M press set at 200F and pressing the 
> assembly for about 5 minutes.  I'm using some old Seal RC 
> tissue for now.  I'm also experimenting with different 
> varnishes- I'm applying the varnish after the print is 
> mounted on the board.  Havn't really settled on any brand or 
> product yet.  I'm kinda flying by the seat of my pants on all this. 
> Is anyone else using Seal or any heat/pressure mounting 
> devices/tissues with inkjet papers?  I'm considering double 
> layers of drymount tissue.  Any input on best tissue brand, 
> pressing times/temperatures, technical resources, archival 
> issues would be appreciated.
>  Thanks, Kip.
> 
> 
> 
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Re: [Digital BW] dry mounting techniques

2005-09-16 by Alan Zimmerman

Kip,
I have dry mounted my darkroom printed photo exhibition work for some 15 years. I used a Seal press, Tech dry mount tissue ( archival).180 degrees for 90 seconds. On double strength mounting board. ( approx 1/8" thick).
Within the last two years I;ve switched to ink jet printing using the same dry mount material single sheet, but now use 2-2.5 minutes @ 185 degrees with thinner papers( Epson premier luster) . For 1/4" gatorboard, I  use a preheat cycle of the gatorboard backing material for 1 minute prior to the actual image mounting at 2.5 minutes @ 185 degrees.  After cool down, I spray with Premier Art. ( Am now looking into HVLP spray gun for  water based clear coatings)
I have no scientific data on the longevity of the above inkjet mounting process and would be interested on others experience as well. I have had no noticeable deterioration between the single adhesive laminates used during the chemical print era of some 15 years as of yet.
Alan
Show quoted textHide quoted text
  ----- Original Message ----- 
  From: kipduff 
  To: DigitalBlackandWhiteThePrint@yahoogroups.com 
  Sent: Thursday, September 15, 2005 5:50 PM
  Subject: [Digital BW] dry mounting techniques


  Dear Group:
  I believe that generally it's not advisable to drymount any type of
  "fine art" pictures, but I really prefer to see the photos flat,
  glossy, on a hard board, and not behind glass.  Thru
  the years I have frequently drymounted traditional photo prints
  (Ilford Galerie/Agfa Insignia) on matts or 1/8 of 1/4" Masonite. 
  Someimtes I bond archival watercolor paper to the Masonite and then
  mount the photo onto that.  Now I'm drymounting B&W prints (Epson
  Ultrasmoothe Fine Arts paper) from my Epson 4800/K3 inks on 1/8"
  masonite. I
  print my pictures (usually 16 x 20") full frame from 8x10 negatives,
  and the board is the same size as the picture.  I'm using a
  Seal 210M press set at 200F and pressing the assembly for about 5
  minutes.  I'm using some old Seal RC tissue for now.  I'm also
  experimenting with different varnishes- I'm applying the varnish after
  the print is mounted on the board.  Havn't really settled on any
  brand or
  product yet.  I'm kinda flying by the seat of my pants on all this. 
  Is anyone else using Seal or any heat/pressure mounting
  devices/tissues with inkjet papers?  I'm considering double layers of
  drymount tissue.  Any input on best tissue brand,
  pressing times/temperatures, technical resources, archival issues
  would be appreciated.
  Thanks, Kip.




  Please visit the Group Homepage to check the Files, and other resources as they are often being updated.

  http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint

  If you wish to receive no emails or just a daily digest, or you wish to unsubscribe, please edit your Membership preferences by visiting this same page.

  Please follow these basic guidelines:
  - As threads develop, trim off excess portions of earlier messages to keep them short.
  - Good manners are required at all time. No personal attacks or flames. Hostile, aggressive or argumentative users may be removed from the membership without notice.
  - Keep your posts and threads related to the group topic of digital B&W printing. Users who persistently make off-topic posts may be removed from the membership.
  - By posting on this forum you agree to abide by the group rules and guidelines, and to abide by the actions and decisions of the group Owner and Moderators. See "Group Topic, Rules and Guidelines" in the Files section:
  http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/

  BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE "OWNER" AND "MODERATORS" OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DAMAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE LOSSES (EVEN IF THE  "OWNER" AND "MODERATORS" OF DIGITAL BW, THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIGITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTERATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) ANY OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.




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Re: dry mounting techniques

2005-09-17 by kipduff

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "kipduff"
<kip.duff@g...> wrote:
> Dear Group, Myron, Al, Ken:
Al: you may be on to something with the waterbase.  I used a fine nap
roller for some Varithane semigloss water base varnish.  I think the
inkjet photo image surface may be more similar to oil base than water
base varnish "vehicles".  Because of this, the use of water base may
facilitate the process because it's as though the surface has already
been primed and you don't need so many coats (in other words, it may
already be somewhat "watertight").  The Varithane is weird- it left
too much texture and shows a little bit "white opaque" in some bumps.
 The good part is that it stood on the surface rather than soak in and
need multiple coats (also very fast drying).  I am also trying Deft
Clear Wood Finish (laquer in spray cans from most hardware stores) in
semi and gloss.  This is definitealy petrol base.  It takes many coats
and may be soaking into and thru the inkjet image- a small separtaion
bubble has formed possibly as a result of this (this is also my first
use of Bienfang Colormount).  After 3 coats, I'm still seing some
paper texture.  The Varithane waterbase would be good except it leaves
excessive texture and some opacity (brushing is worse).  A water base
spray might be the trick.

Re: dry mounting techniques

2005-09-17 by Scott Jones

Hi Myron,

Yes Fusion 4000+ mounting adhesive still exists and is a great 
product. I use it exclusively for my drymounting of darkroom and 
inkjet prints. The key trick to this material is that you first lay 
down an appropriatye size sheet (it comes in rolls)of fusion 4000+ 
and then the print in a release paper sandwich and heat in the 
press. Now you have a "glue" backed print which you then trim in 
your paper cutter. Then you position the glue backed print where you 
want on your mounting substrate. After putting a smooth paper weight 
on the print so it won't move, I use a tacking iron to just slightly 
heat up the two top corner tips (on the glue side)that I lift 
slightly with my finger nail. When pushed back down, this sticks the 
corners without applying the iron directly to the print which can 
easily damage it. Now I put the backing - glue - print sandwich back 
in the press and it works great. Just glue, no paper vehicle with 
glue and yes you can theoretically reverse it. Never tried that 
though!!

I buy the rolls of the material from B&H...

Scott

Re: dry mounting techniques

2005-09-17 by Mark Hahn

A number of years ago I had an upscale faux finishing business 
catering to the rich and famous of Beverly Hills and sealing very 
delicately colored faux marble etc. was required.  I primarily used 
archival quality fine art materials for the finishes, but there were 
no really durable clear finishes available.  We tried all the lacquer 
based and water based materials and they all had the potential of 
yellowing.  It seemed that the same material applied on different 
days could yellow differently.  Deft in the spray cans seemed the 
very most reliable, where as Deft in a gallon can would generally 
yellow... different stuff apparently.  The waterbased stuff seemed 
the most variable.  All I want to say is that it all has the 
potential to yellow in a very short period of time.  Professional 
Varithane (mainly available where they rent floor sanders etc. and 
not at most general hardware stores) was also fairly servicable, but 
was still somewhat yellow.

For a while is did some photo based works that I sealed in huge 
quantities of Varithane, which I'd set on fire to dry and amber, that 
came out pretty cool :)

mark

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "kipduff" 
<kip.duff@g...> wrote:
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "kipduff"
> <kip.duff@g...> wrote:
> > Dear Group, Myron, Al, Ken:
> Al: you may be on to something with the waterbase.  I used a fine 
nap
> roller for some Varithane semigloss water base varnish.  I think the
> inkjet photo image surface may be more similar to oil base than 
water
> base varnish "vehicles".  Because of this, the use of water base may
> facilitate the process because it's as though the surface has 
already
> been primed and you don't need so many coats (in other words, it may
> already be somewhat "watertight").  The Varithane is weird- it left
> too much texture and shows a little bit "white opaque" in some 
bumps.
>  The good part is that it stood on the surface rather than soak in 
and
> need multiple coats (also very fast drying).  I am also trying Deft
> Clear Wood Finish (laquer in spray cans from most hardware stores) 
in
> semi and gloss.  This is definitealy petrol base.  It takes many 
coats
> and may be soaking into and thru the inkjet image- a small 
separtaion
> bubble has formed possibly as a result of this (this is also my 
first
> use of Bienfang Colormount).  After 3 coats, I'm still seing some
> paper texture.  The Varithane waterbase would be good except it 
leaves
> excessive texture and some opacity (brushing is worse).  A water 
base
> spray might be the trick.

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