[pure-silver] Re: Dry Mounting REALLY permanent?
- From: harry kalish <hksvk@xxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Fri, 15 Oct 2010 22:01:13 -0400
Hopefully to add a bit of clarity, I think that Seal changed the name of
ArchivalMount to BufferMount a couple years ago. Please check me on this,
but I'm pretty sure.
Harry.
On 10/15/10 7:35 PM, "Ken Kaiser" <kenneth.kaiser@xxxxxxxxx> wrote:
> I have a few points to add.
> If delamination has occurred, then either the pressure was not high
> enough or the press was not hot enough, or both.
> According to my Seal manual, the pressure is set such that when the
> press is cold and closed, but not locked, the press handle it 65 to 70
> degrees from the horizontal with no Masonite spacer. For most dry
> mounting, this will provide correct pressure. The masonite spacers are
> added for increased pressure when laminating or making transparency
> lifts.
> The Seal directions say:
> ARCHIVALMOUNT is for high quality delicate art, including photographs,
> with a recommended temperature of 170 Deg F and is removable.
> COLORMOUNT is porous and is used for RC photographs or other non
> porous material, with a recommended temperature of 200 Deg F and is
> permanent.
> MT5 is general purpose mounting adhesive for mounting porous material,
> is not recommended for use in high humidity conditions, with a
> recommended temperature of 200 Deg F and is permanent.
> FOTOFLAT is porous and recommended for delicate materials that require
> a lower temperature, with a recommended temperature of 175 Deg F and
> is removable.
> FOTOFLAT is thicker than ARCHIVALMOUNT and is recommended for mounting
> fabrics, watercolors and leaves.
> After removal from the press, cooling is very important. I cool mine
> with a 1/4 inch thick aluminum plate that has 4 5 pound diving weights
> on it.
> Ken Kaiser
>
> On Thu, Oct 14, 2010 at 10:06 PM, Richard Knoppow
> <dickburk@xxxxxxxxxxxxx> wrote:
>>
>> ----- Original Message ----- From: "Tom Schofield"
>> <tomschofield@xxxxxxxxxxx>
>> To: <pure-silver@xxxxxxxxxxxxx>
>> Sent: Thursday, October 14, 2010 3:04 PM
>> Subject: [pure-silver] Re: Dry Mounting REALLY permanent?
>>
>>
>> I was taught to preheat the mat board by putting it in the press before
>> mounting it.
>>
>> I suspect that mounting in the Ansel Adams tradition used higher temp tissue
>> with the fiber based paper. Maybe the problems are more endemic to the
>> lower temp tissues, but I do not consider myself an expert!
>>
>> Tom
>>
>> Please see my post, _all_ components except the mounting tissue need to
>> be dryed out in the press before mounting. The release tissue does not need
>> to be dryed since it is non-absorbent but is used over the emulsion side of
>> the print to _prevent_ the gelatin from drying out too much. The main reason
>> prints and films curl is the differential shrinkage of the emulsion and
>> support. The emulsion tends to expand when moist and shrink when dry. The
>> support also changes size somewhat but not nearly as much as the gelatin. By
>> drying with release tissue in contact with the emulsion side and absorbent
>> paper in contact with the support the moisture in the two is equalized so
>> that the curl is minimized. The mounting boards do not tend to curl so much
>> and probably do not really need drying out in the press but it does not hurt
>> them.
>> Properly dry mounted prints will still tend to curl under extreme moisture
>> conditions but not as much as prints mounted by other methods and the prints
>> will not separate from the mount. Of course one can mount on very stiff
>> material so that there is no curl at all.
>> If humidity is a serious problem the prints can be coated with a
>> protective lacquer. Kodak used to make a special lacquer but I think Krylon
>> Archival Varnish will work and can be removed. It also has a UV filter in
>> it.
>> --
>> Richard Knoppow
>> Los Angeles, CA, USA
>> dickburk@xxxxxxxxxxxxx
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