When I was in college we used heat presses. Nice flat prints on board always appealed to me. The last time I tried spray adhesive it was a disaster. Not long after using it my prints were curling at the edges. Maybe I was just using a poor quality adhesive. I'd like to know if people are having good success with spray on as well. I'm also wondering if there are any archival issues with using spray or dry mount tissue with a heat press...
Baronfoxx, there have been several articles written in various publications ( can't remember the exact ones) that warn against using spray mounting adhesives on fiberbase papers. It seems that these adhesives are O.K. for short term display of RC papers, but they are not suitable for long term archival mounting, especially with FB papers. For many years, I dry mounted my FB prints (in a heated press). A few years ago, I read an article written by a person that I trust and respect. He explained that there was evidence that applying heat to toned FB prints caused changes in the tonal coloration. That was all I needed to hear. I frequently use warm tone papers and Selenium toner. I sold my dry mount press (it was very old, heavy to move around, and ugly to look at). I now use acid-free double-backed tape, from Light Impressions, to hold my prints onto the mounting board. Then mat and frame them. Just a small square of tape at each corned does the trick. I can easily remove the print from the board, if need be, and I avoid heating my prints in a press.
I use single weight paper and a hand iron to dry mount. It works great and the iron set me back 2.00 at a thrift store. I actually prefer single weight paper because it dry mounts much better than double weight. It is also easier to handle when it's wet because it is so soft that it won't scratch your other prints.
There was an article in View Camera magazine some time ago which reviewed the new ArtCare mounting board. In the course of their tests, they compared the permanance of prints both hinged and dry-mounted. The dry-mounted prints showed substantially less degradation due to aging and chemical contamintation. I feel that, as far as permanance is concerned, dry-mounting is the way to go, especially for art photos where the presentation, placement on the mat board and overmatting is an integral part of the artwork.
I use the Seal "BufferMount" (formerly "ArchivalMount" low-temperature mounting tissue. It is also removable by heat. I routinely mount prints that have been selenium toned, many to completeion, and have never noticed a change in image color, or damage of any kind.
The article that Doremus is refering to was written by Michael A Smith and you can read it in his site www.michaelandpaula.com. (copy and paste until the hot keys work). The Artcraft boards seem to be a great choice for archival presentation.
Sean, I found that most of the time I want to go with white unless the image is printed on warmtone paper or has been sepia or brown toned - then I use the ivory, which is just not as white. Besides, I really like the look of a b&w print on a real white mat. Just gives it a very professional look.