[pure-silver] Re: Mounting prints

When I printed Cibachrome and Type R supergloss,
I used to mount prints in corners with overmats to
hold them in place.  I understood this was the most
archival method.  Also, museums (a lofty thought
for my work!) preferred this because if the mount
got damaged, the print could be taken out and put
in a brand new mount.  However, in practice it 
really only works for small prints.  While nothing
has ever fallen apart, large prints tend to buckle
and get wavy over time.  Since then I've had to
re-mount every print bigger than 11x14.  I now have
all my polyester and RC prints cold mounted on
either 3/16" gatorboard or 3mm sintra.

For B&W fiber, I dry mount everything.  There's just
no other way to hold a fiber print perfectly flat.
I've seen a lot of photographers present fiberbase
prints with corners and overmats, and it just doesn't
look right (in my humble opinion).  I guess it works
okay for small prints (8x10), but I like having the
print "floating" in the middle of the window of the
overmat, in Ansel Adams tradition.

-Charlie


--- Jeffrey Thorns <puresilver@xxxxxxxxx> wrote:

> I saw the show at the Camerawork Gallery (in
> Portland, OR) yesterday, 
> of The Contact Printers Guild. (Sandy King, among
> others) Very nice 
> work - Platinum/Palladium, Carbon Transfer,
> 'traditional'.
> 
> I noticed that at least one photog used photo
> corners to attach the 
> prints to the 'back board', then used (I assume)
> archival linen tape 
> to hinge the overmat to the back board (at the top).
> The prints were 
> mostly 8x10 and, I assume, watercolor paper. (and
> thus, fairly stiff)
> 
> Is this common practice among those on the list? Do
> you use this 
> method when the print is 11x14 or larger? I have
> always worried that 
> the print would somehow slip out of the corner.
> (even with an overmat)
> 
> I don't own a dry-mount press, so I have used mostly
> linen tape. I 
> kind of like the idea of a mounting method that is
> 'reversable'.
> 
> Comments?
> 
>
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