When dry mounting, I use a board between the platen and the print (as described by Ansel Adams.) I'm finding that the board sticks a little to the print and takes off the gloss surface, degrading the blacks. Questions: 1 Is there anything I can do to a print which has already suffered this? 2. Is there a way of preventing this? Maybe to use quick realease paper between the board and the print? (I tried using just quick release paper and found that there were small pits in the print no matter how carefully I dusted everything.) Thanks in advance.

-- Yaakov Asher Sinclair (sinclair@actcom.co.il), November 15, 2001

Answers

I definitely recommend using quick release paper.

It is not likely you will be able to salvage your prints that have lost the gloss on their surface. The only possibility I can think of is to wax them with some Renaissance microcrystalline wax (available from Light Impressions), but I wouldn't guarantee the result.

-- Ed Buffaloe (edb@unblinkingeye.com), November 15, 2001.

Seal also markets quick release board, the quick release "teflon" substance integrated into a reasonably stiff board. It is quite useful. Bob

-- Bob Moulton (bobmargaretm@home.com), November 15, 2001.

Try cleaning the surface of the print with some PEC 12 cleaner and then use the renaissance wax & see if it doesn't help the problem. It can in some cases. In others you have the surface both lifted by the sticking mat as well as being compressed and the irregularity just won't go away.

-- Dan Smith (shooter@brigham.net), November 15, 2001.

I use a sheet of Light Impressions Apollo interleaving paper between the print and the cover board. I replace it every so often, especially if I get indenting or stickyness. The Apollo paper is way cheaper than the release papers and has no effect on the finish of an air-dryed fiber base print.

-- David Rose (DERose1@msn.com), November 15, 2001.

By the way- the sticking to the face of a print is usually related to moisture- make sure everything is very dry before attempting to drymount!

-- David Rose (DERose1@msn.com), November 15, 2001.

the best answer, IMHO, is to stop dry-mounting your prints. use linen tape hinges. it is the archival way to mount prints of any kind.

-- jnorman (jnorman34@home.com), November 15, 2001.

Try the release paper, but also check that your press is not too hot or the time too long.

Regards,

Doug

-- Doug Paramore (Dougmary@alaweb.com), November 15, 2001.

As stated earlier, the most likely problem is moisture in the print or board.I would suggest heating the board and pressing the print prior to tacking the tissue. If you choose not to use tissue but the hinge method instead, you will have a flat print for presentation. I believe the hinge method is preferred for archival purposes.

Merg Ross

-- Merg Ross (mergross@aol.com), November 15, 2001.

If I am understanding right, your prints are being dulled during the mounting process. I like my prints to have a nice gloss look. When they don't have the shine that I like, I will treat the suface of the print with steam. I fire up the the kettle that I use to make tea, you know the kind that whistles when the water boils and move the print around in the path of the steam. This also works well to hide touch up spots on a print.

-- Jeff White (jeff@jeffsphotos.com), November 15, 2001.

With respect to hinge mounting, you will get more protection of the image from pollutants migrating in from the back of the print if you dry mount. Bainbridge Alpharag Artcare boards have an active 'trapping' system which protects the print from pollutants from the front as well as back but some testing has shown dry mounted prints do better than those not dry mounted. They also lay flat and don't get wavy with atmospheric pressure & moisture changes.

-- Dan Smith (shooter@brigham.net), November 15, 2001.

Many Thanks to everyone for their help. I tried Jeff White's suggestion of using steam from a kettle and it worked like a dream. Many many Jeff!

-- Yaakov Asher Sinclair (sinclair@actcom.co.il), November 19, 2001.