Digital BW, The Print

Daniel,

>I'm really interested in using mounting corners vs
>dry mounting, but I'm concerned about warping of the
>print from humidity, ink, time, etc.  ...
> Has anyone seen warping on corner mounted (or
>hinge mounted) prints when using EAM or Photo Rag 308?
>..after being matted & framed?
 >...

Getting away from the need to dry mount my silver prints is a major reason I
love this inkjet technology.  I was never satisfied with the non-dry-mounted
wet-darkroom prints.

I now use 2 tapes to hang EAM 16x20 prints behind an over-mount, all behind
acrylic or glass.  I'm on the central coast of CA, so the weather may be
more forgiving.  However, I think they are virtually perfect in terms of
flatness, and it is SO much easier and faster than dry mounting.

Paul
http://www.PaulRoark.com

At 11:11 PM 2/11/2002 -0800, you wrote:
>Daniel,
>
>>I'm really interested in using mounting corners vs
>>dry mounting, but I'm concerned about warping of the
>>print from humidity, ink, time, etc.  ...
>> Has anyone seen warping on corner mounted (or
>>hinge mounted) prints when using EAM or Photo Rag 308?
>>..after being matted & framed?
> >...
>
>Getting away from the need to dry mount my silver prints is a major reason I
>love this inkjet technology.  I was never satisfied with the non-dry-mounted
>wet-darkroom prints.
>
>I now use 2 tapes to hang EAM 16x20 prints behind an over-mount, all behind
>acrylic or glass.  I'm on the central coast of CA, so the weather may be
>more forgiving.  However, I think they are virtually perfect in terms of
>flatness, and it is SO much easier and faster than dry mounting.
>
>Paul
>http://www.PaulRoark.com
>

I agree with Paul. Un-mounted silver prints for display reflect light badly.
Traditional prints - intaglio, etc, are seldom mounted.  I think matte ink
jets look very good un-mounted even if they warp a bit under the mat. Size
matters, of course. It would be interesting to try embossing an ink jet
print in the image area like an intaglio. Too arty...?


AZ
Maker of Lookaround panoramic camera.

www.geocities.com/soho/gallery/8874/
         or
keyword.com lookaround

Daniel,

My current mounting technique, which I didn't articulate very well, is to
use Light Impressions archival tape (I prefer the Clear Framers Tape II to
the linen tape).  I put 2 tapes on the top, back of the print, in from the
sides about (very roughly) 1/4 of the print width.  I lay the print, face
up, on the backing of the hinged Light Impressions mat board.  (I prefer the
foam-core backing and Exeter Gallery White board, pre-cut.)  I visually
align the print with the over-mat.  (I sign the print -- which will not show
with this mounting/matting technique -- and the over-mat.)  After the print
is visually aligned, I use 2 more pieces of tape that form a "T" with the
3/4" of tape showing above the top edge of the print.  So, these tapes,
going horizontally, hit the adhesive side of the tapes that are on the back
of the print and then stick to the foam-core backing.  This
print-mat-backing combination is then put into a black metal frame with
glass or acrylic.  (I prefer glass, but the local Artists' Guild manages to
crack half of them, so I'm going to acrylic.)

So, basically, I use two tape "T's" at the top to the print to hang it on
the foam-core backing.  Then the over-mat and "glass" hold the print flat.
I see no buckling at all in these 16x20 EAM prints.

I might add that I cut the EAM from a 24" roll.  The wetness of the ink
causes it to flatten sufficiently that I don't need to do anything more to
the print.  I, of course, let it dry a full day before putting it under
glass.

I hope this clarifies what I'm doing.  It's really nothing special at all,
and very easy compared to dry-mounting silver prints.

If I wanted to do more, it would be to use a double matte to make it look a
little fancier.

(When I'm feeling more artsy, I'll try some floating prints with watercolor
paper and "torn" edges (whatever the proper name is for that look), along
with the sepia inks.  For my New Mexico prints, I think this might be most
effective.)

Paul
http://www.PaulRoark.com

________________

>Paul, ... I'm having a hard time visualizing what you are saying..

>> I now use 2 tapes to hang EAM 16x20 prints behind an
>> over-matte.

>Are you saying you tape the prints to the *back* side
>of the (cut & beveled) mat board? How do you tape
>them? Two strips, top and bottom?  Why wouldn't you
>just tape the print to the backing board?  To hide the
>tape?
> http://www.PaulRoark.com

At 10:08 AM 2/12/2002 -0800, you wrote:
>Daniel,
>
>My current mounting technique, which I didn't articulate very well, is to
>use Light Impressions archival tape (I prefer the Clear Framers Tape II to
>the linen tape).  I put 2 tapes on the top, back of the print, in from the
>sides about (very roughly) 1/4 of the print width.  I lay the print, face
>up, on the backing of the hinged Light Impressions mat board.  (I prefer the
>foam-core backing and Exeter Gallery White board, pre-cut.)  I visually
>align the print with the over-mat.  (I sign the print -- which will not show
>with this mounting/matting technique -- and the over-mat.)  After the print
>is visually aligned, I use 2 more pieces of tape that form a "T" with the
>3/4" of tape showing above the top edge of the print.  So, these tapes,
>going horizontally, hit the adhesive side of the tapes that are on the back
>of the print and then stick to the foam-core backing.  This
>print-mat-backing combination is then put into a black metal frame with
>glass or acrylic.  (I prefer glass, but the local Artists' Guild manages to
>crack half of them, so I'm going to acrylic.)
>
>So, basically, I use two tape "T's" at the top to the print to hang it on
>the foam-core backing.  Then the over-mat and "glass" hold the print flat.
>I see no buckling at all in these 16x20 EAM prints.
>
>I might add that I cut the EAM from a 24" roll.  The wetness of the ink
>causes it to flatten sufficiently that I don't need to do anything more to
>the print.  I, of course, let it dry a full day before putting it under
>glass.
>
>I hope this clarifies what I'm doing.  It's really nothing special at all,
>and very easy compared to dry-mounting silver prints.
>
>If I wanted to do more, it would be to use a double matte to make it look a
>little fancier.
>
>(When I'm feeling more artsy, I'll try some floating prints with watercolor
>paper and "torn" edges (whatever the proper name is for that look), along
>with the sepia inks.  For my New Mexico prints, I think this might be most
>effective.)
>
>Paul
>http://www.PaulRoark.com
>
>________________
>
>
>
>>Paul, ... I'm having a hard time visualizing what you are saying..
>
>>> I now use 2 tapes to hang EAM 16x20 prints behind an
>>> over-matte.
>
>>Are you saying you tape the prints to the *back* side
>>of the (cut & beveled) mat board? How do you tape
>>them? Two strips, top and bottom?  Why wouldn't you
>>just tape the print to the backing board?  To hide the
>>tape?
>> http://www.PaulRoark.com
>

Paul,

Nothing is too arty for New Mexico :-) I couldn't find them on your pages???  
I also like the look of the real edge deckel on paper for decorative effect.
I think conventional photo mounting is a Modernist hold-over and it is ok to
use other traditional fine-art print styles of mounting for personal prints.
Some feel that anything but a plain white board should be left to the buyer
of the print.  Submitting a non-standard print to a juried show might upset
some traditional-minded juror.  

I mount ink jet prints with paper corners made from the same paper as the
prints. I use acetate glue (Duco cement) which is archival. There is another
way that involves beveled cuts on the mount board and paper hinges that is a
little more work but is slick. Do you have any experience with those roll-on
adhesive gadgets?  I have used them to tack down corners.

AZ

Maker of Lookaround panoramic camera.

www.geocities.com/soho/gallery/8874/
         or
keyword.com lookaround

>>...
>>(When I'm feeling more artsy, I'll try some floating prints with
watercolor
>>paper and "torn" edges (whatever the proper name is for that look), along
>>with the sepia inks.  For my New Mexico prints, I think this might be most
>>effective.)

Alan wrote:

>...

>Nothing is too arty for New Mexico :-) I couldn't find them on your
pages???

True, I've been lazy (and too busy) lately.  The vast majority of my
negatives -- even the minority that are good ones -- have never been
printed.  Hopefully I'm getting close to more image production.

>I also like the look of the real edge deckel on paper for decorative
effect.

>I think conventional photo mounting is a Modernist hold-over and it is ok
to
>use other traditional fine-art print styles of mounting for personal
prints.
>Some feel that anything but a plain white board should be left to the buyer
>of the print.  Submitting a non-standard print to a juried show might upset
>some traditional-minded juror.

I agree.  The jurors seem to be very conservative.

>I mount ink jet prints with paper corners made from the same paper as the
>prints. I use acetate glue (Duco cement) which is archival. There is
another
>way that involves beveled cuts on the mount board and paper hinges that is
a
>little more work but is slick.

The Light Impressions tape I've been using is supposedly removable.  To be
honest, I've been just cutting it and re-using the mats as I change prints.

> Do you have any experience with those roll-on
>adhesive gadgets?  I have used them to tack down corners.

I've used them for non-archival cards, like Xmas cards.  It's quick, but I
doubt the archival nature of the adhesive.  I also, of course, doubt the
archival qualities of the Light Impressions tape I've been using.  They
claim it is, and it's so easy, I use it, but I'm skeptical.

Paul
http://www.PaulRoark.com

Paul, thanks for the clarification on your mounting
techniques.  So, the main reason you use your "T"
method is so you have no tape on the face of the
print, yes?  Pretty clever.  Would there be anything
"improper" about taping on the bottom of the print
aswell?  Think that would make me feel a little better
about humidity warping, etc.
Thanks again for your help,
  
  Daniel


--- Paul Roark <paul.roark@...> wrote:
> Daniel,
> 
> My current mounting technique, which I didn't
> articulate very well, is to
> use Light Impressions archival tape (I prefer the
> Clear Framers Tape II to
> the linen tape).  I put 2 tapes on the top, back of
> the print, in from the
> sides about (very roughly) 1/4 of the print width. 
> I lay the print, face
> up, on the backing of the hinged Light Impressions
> mat board.  (I prefer the
> foam-core backing and Exeter Gallery White board,
> pre-cut.)  I visually
> align the print with the over-mat.  (I sign the
> print -- which will not show
> with this mounting/matting technique -- and the
> over-mat.)  After the print
> is visually aligned, I use 2 more pieces of tape
> that form a "T" with the
> 3/4" of tape showing above the top edge of the
> print.  So, these tapes,
> going horizontally, hit the adhesive side of the
> tapes that are on the back
> of the print and then stick to the foam-core
> backing.  This
> print-mat-backing combination is then put into a
> black metal frame with
> glass or acrylic.  (I prefer glass, but the local
> Artists' Guild manages to
> crack half of them, so I'm going to acrylic.)
> 
> So, basically, I use two tape "T's" at the top to
> the print to hang it on
> the foam-core backing.  Then the over-mat and
> "glass" hold the print flat.
> I see no buckling at all in these 16x20 EAM prints.
> 
> I might add that I cut the EAM from a 24" roll.  The
> wetness of the ink
> causes it to flatten sufficiently that I don't need
> to do anything more to
> the print.  I, of course, let it dry a full day
> before putting it under
> glass.
> 
> I hope this clarifies what I'm doing.  It's really
> nothing special at all,
> and very easy compared to dry-mounting silver
> prints.
> 
> If I wanted to do more, it would be to use a double
> matte to make it look a
> little fancier.
> 
> (When I'm feeling more artsy, I'll try some floating
> prints with watercolor
> paper and "torn" edges (whatever the proper name is
> for that look), along
> with the sepia inks.  For my New Mexico prints, I
> think this might be most
> effective.)
> 
> Paul
> http://www.PaulRoark.com
> 
> ________________
> 
> 
> 
> >Paul, ... I'm having a hard time visualizing what
> you are saying..
> 
> >> I now use 2 tapes to hang EAM 16x20 prints behind
> an
> >> over-matte.
> 
> >Are you saying you tape the prints to the *back*
> side
> >of the (cut & beveled) mat board? How do you tape
> >them? Two strips, top and bottom?  Why wouldn't you
> >just tape the print to the backing board?  To hide
> the
> >tape?
> > http://www.PaulRoark.com
> 
> 
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Daniel,

You wrote:

>... on your mounting
>techniques.  So, the main reason you use your "T"
>method is so you have no tape on the face of the
>print, yes?

That is part of it.  I also just find it about the easiest thing to do.  I
want the print to hang fairly free.  By the way, I use a straight edge to be
sure the top of the print is not buckled at all when I tape the tape down to
the foamcore.

>  Would there be anything
>"improper" about taping on the bottom of the print
>as well?  Think that would make me feel a little better
>about humidity warping, etc.

I'm no expert in this, but I think that might increase the likelihood of
warping.  As the paper absorbs humidity, it might expand.  If it is
free-floating, hopefully the expansion will be allowed by the paper moving
down a bit.  If it is taped there, I wonder if you'd get some bowing in the
image area.

Paul

_____________________


--- Paul Roark <paul.roark@...> wrote:

> Daniel,
>
> My current mounting technique, which I didn't
> articulate very well, is to
> use Light Impressions archival tape (I prefer the
> Clear Framers Tape II to
> the linen tape).  I put 2 tapes on the top, back of
> the print, in from the
> sides about (very roughly) 1/4 of the print width.
> I lay the print, face
> up, on the backing of the hinged Light Impressions
> mat board.  (I prefer the
> foam-core backing and Exeter Gallery White board,
> pre-cut.)  I visually
> align the print with the over-mat.  (I sign the
> print -- which will not show
> with this mounting/matting technique -- and the
> over-mat.)  After the print
> is visually aligned, I use 2 more pieces of tape
> that form a "T" with the
> 3/4" of tape showing above the top edge of the
> print.  So, these tapes,
> going horizontally, hit the adhesive side of the
> tapes that are on the back
> of the print and then stick to the foam-core
> backing.  This
> print-mat-backing combination is then put into a
> black metal frame with
> glass or acrylic.  (I prefer glass, but the local
> Artists' Guild manages to
> crack half of them, so I'm going to acrylic.)
>
> So, basically, I use two tape "T's" at the top to
> the print to hang it on
> the foam-core backing.  Then the over-mat and
> "glass" hold the print flat.
> I see no buckling at all in these 16x20 EAM prints.
>
> I might add that I cut the EAM from a 24" roll.  The
> wetness of the ink
> causes it to flatten sufficiently that I don't need
> to do anything more to
> the print.  I, of course, let it dry a full day
> before putting it under
> glass.

Hmm, hadn't considered that.  Probably a valid point. 
Think I just need to mount some prints by hanging and
see what happens.  I'll also be using some Photo Rag
308 so that might help.  Do you use the same Clear
Framers Tape II for hinging the overmat?  Or does
LightImpresions do that?  I'm going to hinge my own,
so might use linen tape.
BTW, does the EAM that comes in your rolls have the
Epson watermark?
Thanks,
Daniel


--- Paul Roark <paul.roark@...> wrote:
> 
> I'm no expert in this, but I think that might
> increase the likelihood of
> warping.  As the paper absorbs humidity, it might
> expand.  If it is
> free-floating, hopefully the expansion will be
> allowed by the paper moving
> down a bit.  If it is taped there, I wonder if you'd
> get some bowing in the
> image area.
> 
> Paul
> 


__________________________________________________
Do You Yahoo!?
Yahoo! Sports - Coverage of the 2002 Olympic Games
http://sports.yahoo.com

Daniel,

>... Do you use the same Clear
>Framers Tape II for hinging the overmat?  Or does
>LightImpresions do that?

I buy them pre-hinged form Light Impressions.  They use linen tape.

>BTW, does the EAM that comes in your rolls have the
>Epson watermark?

No.  I have not bought any of the new "Enhanced Matte," but hopefully they
didn't change it.

Paul
http://www.PaulRoark.com