[pure-silver] Re: Release Paper
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Tue, 12 Oct 2010 15:19:30 -0700
----- Original Message -----
From: "Adrienne Moumin" <photowonder2010@xxxxxxxxxxx>
To: "Pure Silver" <pure-silver@xxxxxxxxxxxxx>
Sent: Tuesday, October 12, 2010 2:32 PM
Subject: [pure-silver] Release Paper
I am using a release paper sandwich for the very first time,
first to flatten my prints in a press, and later to dry
mount some of them.
Is it problematic if the release paper develops wavy
"wrinkles" (from too much heat, it would seem, tho' the
press is only set to 180F)?
Will these "winkles" transfer to the face of the prints , or
does it not matter?
Thanks in advance,
Adrienne Moumin
The print should not be sandwiched between sheets of
release paper. It should have a sheet on the emulsion side
and something absorbent on the paper side. BTW, this method
works _only_ for fiber paper, RC does't need it and should
be flattened this way.
The press should be set to a relatively low
temperature, say 120F.
To flatten paper you need:
The press
Some release paper (it must be smooth)
Some absorbent paper such as Kraft or construction paper or
fresh photo blotter paper.
Some padding, which can be more Kraft paper or mounting
boards.
A flat weight, preferably sheet aluminum (conducts heat
well) but even plywood will do.
First step, place the Kraft paper and padding in the press.
Close but do not lock the press and leave the papers in it
for about two to three minutes.
Remove the material.
Now, make a sandwich of the print with a sheet of release
paper on the _emulsion_ side and one or more sheet of
absorbent material on the paper side. Several sheets can be
used if the absorbent material is being used as padding.
On the top place several sheets of absorbent paper above the
release tissue to act as padding. A smooth mount board can
be used in place of the padding on either side but should
have been dried out in the press as above.
Place the sandwich in the press and close but do not
lock the press. Leave in for two or three minutes, you will
have to experiment to find the right time. At the end of the
time remove the sandwich and place the entire thing under
the flat weight and leave it for long enough to cool. It may
take several minutes. Once removed the paper will be
absolutely flat and should be without wrinkles, cockling, or
marks.
Some papers tend to have frilling at the edges which
the flattening procedure will not remove. I had this
probably frequently with AGFA papers. The only solution is
to make the prints on oversize paper with large enough
borders so that they can be trimmed off.
The above flattening procedure is the first step in
dry-mounting.
If you want to dry mount first flatten the print as
above.
Then dry out the mounting board by sandwiching it between
some sheets of dryed absorbent paper.
Then attach the dry-mounting tissue to the prints at a spot
or short line _at one edge_ NEVER in the center as Kodak
used to recommend. Center tacking will guarantee wrinkles.
After tacking the edge sandwich the print between sheets of
release tissue with padding. Then place in the press. Close
and lock the press for long enough to fuse the tissue,
usually about two minutes. Remove the sandwich and place
under the flat weight until cool. The mounting tissue should
be fused to the print all over and be very smooth.
Next trim the print to size. Since the mounting tissue is
fused to the print you will be trimming both and the tissue
will conform exactly to the print so that there will be no
leakage at the edges.
Now place the print on the dryed mounting board and
align it. Next tack the print at a spot on one edge using a
sheet of release tissue or padding paper under the tacking
iron to prevent its marking the print. When tacked cover the
print with a sheet of release tissue which should extend
over the entire mount. Cover this will sheets of dryed
padding and place some padding under the mount.
Place the sandwich in the press and close and lock the
press. Leave for two to five minutes. Then remove and place
the entire sandwich under the flat weight until its cool.
If done correctly the result will be a completely smooth
mounted print with no wrinkles or blemishes and it will stay
mounted until delibrately removed.
While unmounted prints or prints mounted using some
temporary method such as photo corners, may be desireable
from the standpoint of archivists and gallery people IMO a
dry mounted print makes the best display and is quite
archival. Its main drawback is the difficulty of removing a
dry mounted print in case of damage to the mount or print.
However, many of the low-temperature tissues can be removed
with the aid of the mounting press.
An aside, the press surfaces must be clean and smooth.
The padding will help to aleviate marking from surface
blemishes but its still better if there are none.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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