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  1. #11
    RalphLambrecht's Avatar
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    Ian is right, it's a personal choice. For me, drymounting is the only way to go. I want control over the entire viewing experience. The pure thought that a gallery or buyer puts my print into a non-fitting frame or displays it on a black mountboard scares me. A bad mount or frame can destroy the image and ruin the photographers reputation. The only exception I'd make would be an exhibition at a trusted gallery or museum.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  2. #12
    Mainecoonmaniac's Avatar
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    Quote Originally Posted by RalphLambrecht View Post
    Due to the aesthetic reason Vaughn mentioned, I continue to drymount the prints I sell. I prefer to have a flat, free-floating print and hate overlapping mats. Unsold prints are kept unmounted in an archival box until they have found a buyer. If a gallery insists in unmounted prints, they get one from the box, but nothing is as flat as a drymounted print.

    I think the 'if the mounboard gets damaged' issue is overrated. I didn't have a single case in 30 years. However, I had a few cases were the glass broke and the print was damaged.
    I guess it does come down to personal choice. I'm wondering of you can avoid dry mounting and still have free-floating prints by using invisible photo corners. The are products like 3M ATG or Kolo photo corners http://www.dickblick.com/1/1/39510--...kg-of-500.html


    I think both adhesives are archival. I've used paper corners with linen tape and it's too cumbersome. What are your thoughts on that Ralph?

  3. #13
    Ian Grant's Avatar
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    If some doesn't like the colourof your mount Ralph they can still add a black over-mat

    The issue of frames arises when a mounted image has to be put in a galleries set of frames, they may be a different standard, Centimetre rather than Inch, or vice versa, but with photography it's rare that galleries use anything other than white mounts. I prefer to do the matting change myself, but it doesn't happen very often luckily.

    Ian

  4. #14
    Vaughn's Avatar
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    Quote Originally Posted by RalphLambrecht View Post
    ...I think the 'if the mountboard gets damaged' issue is overrated. I didn't have a single case in 30 years. However, I had a few cases were the glass broke and the print was damaged.
    Well, I had a couple boxes of mounted and over-matted prints out in the garage (left in there for the summer after moving into a new house until I had a studio set-up) that became ant nests. It seems that the space between the print itself the next print sitting on top of it in the box makes for wonderful ant apartments.

    I tossed out a lot (~60) of nice, but older prints (16x20's on 20x24). Actually I hauled the boxes out onto the driveway and scattered the prints on the concrete to get rid of the ants -- and it started to rain. If I had taped them in rather than dry-mounted I could have saved 90%+ of them.

    So s**t happens.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  5. #15
    fdi
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    For conservation mounting the goal is to be able to replace all of the framing components since overtime they get contaminated with atmospheric pollutants. This is generally a concern for museums trying to make things last forever. They will also story the items in temp/humidity controlled rooms, and even though they will use UV filter glazing they will limit the items exposure to light and primary keep them in the dark.

    Drymounting makes the image a permanent part of the mounting board so if you do this you want to make sure the mounting board is archival if you want the print to last. Drymounting is very popular because it is the easiest way to ensure the print will remain flat.

    High end collectors actually appreciate a little curl and wave in the paper since it indicate the image is not permanently mounted. The average consumer on the other hand views the curl or wave as a poor mounting job. It is usually cost effective if you understand your market and meet their desires.

    Cheers,
    Mark

  6. #16
    Vaughn's Avatar
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    A positive effect of dry-mounting is that the dry-mount material forms a barrier between the mat board and the print -- no contamination can come into the print from behind.
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  7. #17
    RalphLambrecht's Avatar
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    Quote Originally Posted by Mainecoonmaniac View Post
    I guess it does come down to personal choice. I'm wondering of you can avoid dry mounting and still have free-floating prints by using invisible photo corners. The are products like 3M ATG or Kolo photo corners http://www.dickblick.com/1/1/39510--...kg-of-500.html...
    Not on my shift!

    Quote Originally Posted by Mainecoonmaniac View Post
    ... I've used paper corners with linen tape ... What are your thoughts on that Ralph?
    That's more like it if overmatting is acceptable.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  8. #18
    Mainecoonmaniac's Avatar
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    Quote Originally Posted by RalphLambrecht View Post
    Not on my shift!



    That's more like it if overmatting is acceptable.
    It looks like you don't compromise when it comes to mounting and matting. You have high standards.

  9. #19
    RalphLambrecht's Avatar
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    Quote Originally Posted by Ian Grant View Post
    If some doesn't like the colourof your mount Ralph they can still add a black over-mat ...
    No, my prints come mounted and matted.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  10. #20
    Vaughn's Avatar
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    Quote Originally Posted by Mainecoonmaniac View Post
    I guess it does come down to personal choice. I'm wondering of you can avoid dry mounting and still have free-floating prints by using invisible photo corners. ...
    I have only use transparent photo corners to hold SX-70 prints on to the backing board. The window was cut so all of the SX-70 print shows with about 1/4" or so around the entire print. The corners are visible, but I feel that the subject matter and the media work very well together. The entire print is the piece -- just not the image area of the print.

    I never tried to dry-mount an SX-70 print -- don't know if they can take th heat or not.
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

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