Corrugated fiberboard sources:
Your local appliance dealer has refrigerator and dishwasher size cartons for free. Cut them into any size you want, just make sure that the corrugations run parallel to your airflow so the moisture can be easily blown out of the stack. It's usually a heavier grade of paper, so they'll last a loooong time. Don't worry about water resistant board, you'll remove all standing water off of the print before putting them into your drier anyway.
Ask any dressmaker about interfacing, and they'll use the phrase "Pellon". Read about it here:
For non-woven materials, DuPont's "Tyvek" is very good. Read about it here:
It's available in thicker 18lb sheets (thicker = better), 25 sheets, 17 x 22", $38.99 here:
Another non-woven olefin product is "Reemay".
Gaylord promotes it as "an interleaving material when drying wet photographs" here:
Personally. I find acid free blotters work very well in my homemade drier discussed here:
Conservation grade blotter papers are also from Gaylord here:
If you want to go First Cabin, you can get archival corrugated board from Gaylord here:
That oughta get you started.
Cardboard is nothing more than a heavy, thick paper.
Originally Posted by jmal
Search Google for, corrugated board . Wikipedia has
a good amount of information and a very good
illustration. Scroll down some then magnify.
Note the choice of thickness. The A flute I've been
using has the greatest of air passage twixt the two
face sheets. Likely the reason it is termed A flute
Ventilator. C flute has nearly as much. B flute
by comparison has constricted air passage.
Any good quality A or C flute corrugated will do.
I think the board I've been using is water resistant.
Although the prints are no more than very damp
when placed on the drying sheets, the humidity
must be close to 100% while the prints are
drying; high enough to warp paper.
Likely I'll need to Email a source or two of those
VENTILATORS in order to know their source.
I'd like to see some larger sheet sizes
made available. Dan
Pakosol used to sell a chemical treatment, and while it would make it ore flat than not using it, having a dry mount press is the easiest.
I have a 16x20 that I am not using, should you want to discuss acquiring it.
Dan and Reinhold - thanks for your most helpful responses. One more question: if you are using a good facing material (as you describe) do you have to worry about the acid content of the corrugated material?
FWIW, I have had exactly the same experience and reached the same conclusions.
Originally Posted by George Collier
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I use paper blotters, and Dan uses a synthetic non-woven, but we both remove all standing water off of the print before putting them into the drier. I'll let Dan chime in, but I'm totally confident that acid bleed is not a problem if your prints are truly free of surface water. The interleaving should not feel wet. Remember, your prints are in the drier for only a few hours, at most.
My blotters are (I'm guesing) about 10 years old, and have dried (I'm guessing) about 300 prints. The blotters are still in good shape, no stains (except a few drops where I first discovered the necessity of removing all surface water). The corrugated looks about the same as when I started, no water marks, no puckering, just the typical "old corrugated carton" look. I know that some folks might be nervous about using such unrefined stuff, so I included a link to Conservation grade acid free board for their benefit.
Dan; your comments...?
Reinhold - thanks for your last post. My workflow when using either blotters or screens, many years ago, was to hang them back to back first, until they were nearing the point of beginning to dry (how do I describe that - still moist but not dripping), then put them into the screens or blotters. This is what I would do if going back to blotters. I'll have to think about this. Last night I found that I actually still have an unopened, virgin set of Kodak blotters big enough for 16x20 that I may use.
By "facing material" you mean the polyester separator
Originally Posted by George Collier
sheets? I can't see that an issue. Pre dried by sponge or
squeegee and placed upon those non-wetting separators
precludes contact with the corrugated board. No more
than water vapor transfers from the prints, through
the boards facing's, and out of the stack. A print
layer with top and bottom separators. Dan
Originally Posted by Reinhold
I can believe that there is some bleed from print to paper.
The stack is weighted on top and contact is intimate. Perhaps
that is as it should be. Paper separators as with many other
materials used in darkroom work date from ages ago. The
paper in direct contact and under pressure will absorb
moisture and direct it to the two face sheets of the
bottom and top corrugated boards.
I couldn't say how much of the very little chemistry
left in the paper is transferred. Cellulose is hydrophilic
so making it more believable that some transfer occurs.
So much for transfer from paper to separator. The print
is cleaner for the transfer and if there is no reversal of
transfer, as may be the case, then no problem.
There is another matter to be considered in the choice
of separator material and that is permeability. Will the
material allow for the free passage of water vapor? As
I see it the corrugated board's facing sheets present
the greatest barrier. All of the non-woven very
hydrophobic separator materials I've tested
are extremely permeable. Dan
I tried the method of laying the print on a piece of glass and taping the edges down. I used two prints I didn't care for, taking them out of the water I didn't squeegee them but just taped them to the glass and let them dry 5 hours or so. They looked great, flat, just like they were dry mounted; that is until I cut them loose, I couldn't get them off the glass. Both prints were ruined. I'm trying one now that I squeegeed before taping to the glass.
If I can't get this method to work I think I'll adopt it when it comes time to mount the print but instead of tape I'll just use photo corners.