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  1. #11
    ann
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    I have never had a problem with the emulsion cracking. After being under a weight you might just store them in a portfolio box until you get ready to mount them or what ever you want to do with them .

  2. #12
    Aggie's Avatar
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    The easiest way to flattne a print after it is dried, barring a dry mount press is to iron the thing. just use two pieces of heavy paper top and bottom to protect it, and iron away at a lower setting. It willnot harm the emulsion in the least.
    Non Digital Diva

  3. #13
    Alex Hawley's Avatar
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    I can vouch for the iron method. Not only does it work but its fun to say "Honey, I'm ironing my pictures!"

  4. #14
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    Here are the links for the screens from Calumet. One is the screens and the other is the stand, if you don't want to build your own.

    I believe there a number of Calumet store in the UK


    http://www.calumetphoto.com/syrinx/c...&type=PRDINDEX


    http://www.calumetphoto.com/syrinx/c...&type=PRDINDEX


    Michael McBlane

  5. #15
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    For drying screens there's also : www.richards.uk.com
    Digital is best taken with a grain of silver.

  6. #16
    Alex Hawley's Avatar
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    I found a satisfactory screen kit at the local hardware store. This kit is intended to make replacement storm window screens with an aluminum. You can cut the frame rails any size you want, but being somewhat lazy, I left mine uncut and got two 36"x36" drying screens. Some assembly required.

  7. #17
    Ka
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    Donald! Michael! Donald! Michael!

    Do you two ever sit in the same room? You could sell tickets.

    Thanks for the entertainment.

    ka

  8. #18

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    My latest method is to use plastic clothes hangers, but specifically the ones with the two plastic clips. Simply clip to two corners of the prints (I usually clip on the smaller dimension), then clip two clothes pins to the two lower corners for weight.

    This gets the prints reasonably flat, enough for inspection and/or storage. After that, I dry mount.

    In my experience, fiber prints need to dry for 2-3 days, at least the Ilford papers that I use. I expose and develop so that the brightest highlights are without detail. After a day, I think I've screwed up, but somewhere in the second day, those highlights begin to pop out. Getting control of this has made a huge difference in my printing. Try it; it takes patience, but is well worth it.

  9. #19
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    I must admit I was about to post something on a similar line to this.

    I did my first batch of 16x12 selenium-toned prints a couple of weeks ago on MGIV FB glossy. I dried them back-to-back on a line (just like that nice Dr Rudman suggested!) and, fair enough they didn't "curl" (all sides in towards the middle), but they warped (twisting of a plane) like the flamin' Starship Enterprise.

    I've had them sandwiched between two sheets of mount board with my most of my library sitting on top of them for the last fortnight, and they are a bit better, but an hour after taking them out they're curling like Scottish Olympic hopefuls!

    I may try ironing them like Aggie suggests. Failing that, has anyone else tried this "Amoloco anti-curl liquid"? Any idea on its affect of the archival properties of the print?

  10. #20

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    Works very well Frank. I use it all the time. After toning prints go to the anticurl and then onto the screens. I am assuming that it does not affect the archival properties of the print, especially when selenium toned.
    Francesco

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