DaveS
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Reged: 22/06/2007
Posts: 178
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I did try a search, but got a "cannot proceed" error. Never mind, here goes. Has anyone else tried dry-mounting inkjet prints? I know in general one is supposed not to be able to, however after printing on Harman Gloss, FB Al using my new Epson 2400, the results looked so much like a "real" silver-halide print that I gave it a go, both with Mono (That sparked the thought) and colour. So far it seems to work. I did use low temp DMT, with the iron at the lowest usable setting, so fingers crossed that I havn't compromised the archivality.
I'm not sure I'd like to try using Dye-Based inks and / or "conventional" ink-jet paper, but this seems to work.
Cheers,
Dave
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Monobod
'Phantom' of the forum!
Reged: 03/04/2003
Posts: 5675
Loc: Just West of Norwich, Norfolk
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Can you explain the process please, for those who may not know what you are talking about.
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David.
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I see the world thro' a viewfinder, but the world watches me via CCTV!
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DaveS
member
Reged: 22/06/2007
Posts: 178
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Ok, sorry, here goes. Dry-Mounting is a technique from monochrome printing, whereby the print is fixed to mounting board (Mueseuem or Conservation grade) using a tissue (DMT) impregnated with a low-temp meltable adhesive.
In the classicle proscess, a Dry-Mounting Press is used. These are now almost as rare as hens teeth, though they do sometimes turn up s/h at un-cheep prices. I use an old electric iron (NOT a steam iron) with a sheet of silicone release paper between the print and the irom.
First I spot fuse the DMT to the center of the print using the tip of teh iron, then carefully trim the combined tissue / print to the image area using a scalple and steel edge. This is down to preferance, the importand bit is that no DMT extends beyond the print.
Having done this, I tack the two lower corners of the DMT to the mounting board, having lightly ruled a guide, then starting in the centre and slowly working outwards iron the print to the board, the temp of the iron being at "silk" setting. Usualy it will take about 5 mins to do this, the corners always taking longer to stick down. do not over-cook this as you may find the print coming away again and being impossible to re-attach. Lasly I use a moderate weight on the whole sandwich while it cools, as I find the board will often warp otherwise.
Hope this helps,
Dave
PS a good acount can be found in Ansel Adams "The Print"
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Fen
BAD WOLF
Reged: 12/03/2002
Posts: 19582
Loc: Currently Unknown!
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Quote:
In the classicle proscess, a Dry-Mounting Press is used. These are now almost as rare as hens teeth, though they do sometimes turn up s/h at un-cheep prices.
I've got one. Never thought of using it with inkjet prints though...
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Fen.
- Fen's Flickr Fotos -
"One good photograph does not a photographer make."
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DaveS
member
Reged: 22/06/2007
Posts: 178
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You lucky so-and-so  . Actualy I didn't think about dry-mounting until I thought about the structure of the paper involved. I suspect that trying it with dye inks or the usual kind of paper wouldn't work, as the process is a bit drastic, but pigment on the FB / Baryta types might.
Cheers,
Dave
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Monobod
'Phantom' of the forum!
Reged: 03/04/2003
Posts: 5675
Loc: Just West of Norwich, Norfolk
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Why is this better than a thin coat of spray adhesive on the back of the print, which is then placed and smoothed down onto the board? Is the long term life better?
For competition work I mount my prints behind a tapered edge window cut in the face of the mount card, edges taped with 'invisible sticky tape. This is then covered with a sheet of white paper (about 200gm/M2) which is slightly bigger than the print paper and stuck in place with thin, shiny, wide, brown sticky tape.
I can then easily remove the print with a craft knife and reuse the mounts.
I assume that your process is for a different useage?
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David.
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Photos hosted by Flickr.
www.flickr.com/photos/monobod/
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I see the world thro' a viewfinder, but the world watches me via CCTV!
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DaveS
member
Reged: 22/06/2007
Posts: 178
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Dry mounting is a permanant process, so if you need to remove a print, I would use the method that Mueseums use, whereby archival paper tape is fixed to the back of a print with rice-starch past, then to thoe mount with the same adhesive. For large prints a tape "gutter" can be made to support the bottom edge. I have grave reservation about using spray adhesive of any kind, even supposedly "safe" varieties, as there is always the possibility of solvent or adhesive breakthrough into the image.
This may of course be me being an old stick-in-the-mud, so I am prepared to be proved wrong.
For mounting I trim my prints boarderless and fix to a consevation-grade board which is then fixed to the back of a bevel-cut matte with double-sided tape. I cut the matte so as to leave a space between it and the print, so the print "floats". This is again something that I picked up from reading A.A. and is a preferance, not a dicktat.
AS a BTW, I well remember an afternoon in the V&A's print room looking at box after box of Ansel Adam's prints, and thinking "No way can I reach this standard" 
Cheers,
Dave
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Terrywoodenpic
A whiff of silicon...
Reged: 21/01/2006
Posts: 216
Loc: Saddleworth UK
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It is only in recent times that inkjet prints have had a lifespan worth long term mounting.
Dry mounting had a secondary benefit as the shellac adhesive was not only used dry, but it provided a permanent barrier between the back of the print and the mount.
Ademco the main providers of the tissue supplied a low melting point tissue for colour prints ; prior to this the melting point was much higher and damaged colour emulsions. Ademco went out of business some ten years ago.
If you google "Dry mounting tissue" you will find new supplies are available from other manufacturers.
The Vital question I don't know the answer to is. "Can the process alter the life expectancy or colour of Inkjet prints?"
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63 happy photo years from amateur to professional and back to amateur
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John_K
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Reged: 03/09/2006
Posts: 546
Loc: North Yorks
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I think even with the 'low melt' dry mounting tissues the temperature would be too high for gloss paper or any of the a simi gloss surfaces but would work well on a truely matt paper or the uncoated textured paper that doesn't have a plastic surface.
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DaveS
member
Reged: 22/06/2007
Posts: 178
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Just so.
As I said, I wouldn't try this with dye-inks on any paper, or gloss / plastic-coated paper with any inks, but in the special case of pigment inks on Baryta type paper I think it is worth a shot.
Of course for true archivality don't use any form of adhesive, except perhaps rice-starch on archival paper tape in a true museum technique, this assuming the prints are worth archival mounting.
Dave
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