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  1. #21
    AgX
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    Quote Originally Posted by Jed Freudenthal View Post
    Bij het produktieproces van geanodiseerd aluminium is het oxydatieproces, dat toch al hoog is, nog eens versneld. Het oppervlak dat dan ontstaat vereist veel onderhoud. Ik kan mij niet voorstellen dat daar ook maar iets goed aan hecht.
    Ik had nog nooit problemen met geanodiseerd aluminium.
    Bij een gekleurd oppervlak zou ik extra oplettend zijn in verband met een mogelijke was-behandeling van de oxide laag bij de kleuring.

  2. #22
    hka
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    Mijn theorie slaat natuurlijk niet op materialen die vormvast zijn. De manier van plakken, lijm, hotmelt, drymount of wat we nog meer kunnen verzinnen maakt op met papiervezels gemaakte produkten niet uit. Met andere woorden niet het plakmedium is de oorzaak van de ellende maar de componenten die geplakt zijn. Door de vezelrichting in het papier is deze over de langlopende kant makkelijker te buigen dan over de kortlopende kant. Je kunt je dus voorstellen dat wanneer papier en karton allebei langlopend zijn de krachten de weg van de minste weerstand kiezen en dus gaat de zaak buigen (kromtrekken). Probeer dat maar eens door een dik papier ca. 150-200g/m² eerst over de ene kant rond te buigen en dan over de andere kant. Je zult zien dat dit over de breedlopende kant veel moeilijker gaat. Verder zie je als je het papier gaat vouwen het over de breedlopende kant op de vouw gaat breken en over de andere kant een gladde vouw geeft. Logisch hé...
    Last edited by hka; 03-17-2008 at 03:43 AM. Click to view previous post history.
    harry

    Release, the best you can do...

  3. #23

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    Quote Originally Posted by gary mulder View Post
    Gesnopen, je bedoeld dat 't niet een probleem is wat specifiek voor dry mounten is. Maar ik vond harry's aanwijzingen wel heel bruikbaar.
    Volkomen waar. Harry geeft duidelijk aan hoe je met dit probleem om kunt gaan.

    Jed

  4. #24
    Cor
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    Dry Mounting zonder release papier

    Ik dry mount zonder release papier. Ik zorg dat het karton (Barth zuurvrij museum karton, zuurvrij heeft ook als voordeel als je pass partout snijd de schuine randjes niet vergelen) en de foto de zelfde vochtigheid hebben.

    De foto heeft dan nog witte randjes. Ik knip dan een stuk dry mount tissue iets groter dan de foto. Dat zet ik vast op de achterkant met een paar streken met het bijbehorende "tacking iron" (een soort soldeer bout, een strijkijzer zou ook moeten werken). Dan snijd ik de foto zorgvuldig op maat, plak het gedeeltelijk losse tissue vast op een paar punten op het karton, en dan in de pers.

    Ik hoop dat het eea duidelijk is..

    Mvgr,

    Cor

    Voor verder informatie plak ik nog 2 posts uit mijn "archief" er achter aan:

    Here is a summary of the Seal method of dry mounting.

    You need to have:

    A dry mounting press

    A tacking iron

    Dry mounting tissue (Freestyle house brand works fine)

    Release tissue (Freestyle has a cheap but good house brand)

    Some sheets of white Kraft paper the size of your mounts

    Mounting board

    A large flat weight.

    Preferably this should be of sheet aluminum but can even be
    plywood or particle board. It should be large enough to
    cover your mounting boards. Aluminum absorbs heat rapidly so
    is an ideal material for the weight.

    The original Seal presses, accessories, and materials are
    now sold by Light Impressions. Their web site is

    http://www.lightimpressionsdirect.com


    Similar materials are also sold by Hunt-Bienfang

    http://www.hunt-corp.com/main.html

    The procedure begins by drying out everything in the press
    before mounting.

    Some mounting boards can be used as cushions. The press
    instructions will discuss the use of thin mounting

    boards for cushioning the print. Usually one on top and one
    underneath are enough.


    Set the press to the heat required by the mounting tissue
    and let it warm up thoroughly.


    Place 2 sheets of kraft paper in the press and close the
    press. You don't have to lock it down. Let the paper stay

    in the press for a couple of minutes to dry out.

    Place the _un-trimmed_ print between two sheets of the kraft
    paper and place in the press. Close down the

    press and dry out the print for a couple of minutes. Take
    out the sandwich of print and kraft paper and place it

    under the flat weight for a few minutes until cool. This
    will both dry out and flatten the print.

    Now, place the print face down on a sheet of release paper
    enough larger than the print to leave a wide border

    around it and place a sheet of dry mounting tissue, also
    larger than the print, over the back of the print. Using a

    scrap of release tissue tack the mounting tissue at a spot
    at one edge of the print. DO NOT tack in the center or

    in an X shape as recommended by Kodak. The tacking iron
    should be just hot enough to tack the mounting tissue.
    Several layers of release tissue can be used to moderate the
    heat from the tacking iron.


    At this point there are two alternative methods of bonding
    the print to the mounting board. The first is the standard
    Seal method, the second is useful for some materials.

    After tacking the release tissue to the print trim the print
    and tacked tissue to size. Trimming both together insures
    that there will be no overhanging tissue.

    Once trimmed, place the print and tissue correctly on the
    mount. Tack the print at the same edge its already been
    tacked to the tissue.

    Lay a sheet of release tissue over the print with sufficient
    extra to make a wide border around the print. Add the kraft
    paper sheets for cushioning.

    Now, place this entire sandwich in the press and lock it
    down. The tissue will take two or more minutes to fuse
    depending on how much cushioning material is in the press.

    Once fused, remove the sandwich of print, mount, release
    tissue, Kraft paper, from the press and place under the flat
    weight until cool.

    Your mounting is finished at this point.

    The alternative method is to fuse the tissue to the print
    before trimming. This may be useful for some materials and
    can be done routinely if desired. The procedure is below.

    After tacking the mounting tissue to the print place another
    sheet of release tissue over the mounting tissue and print.
    The print is now sandwiched between

    two sheets of release tissue. Place this sandwich between
    dried kraft paper sheets to cushion it.


    Place sandwich in the dry mounting press and close and lock
    the press. Leave for about two minutes to bond sthe tissue.


    Remove the whole sandwich and place under the flat weight
    until cool.


    Remove the print and tissue. The tissue will have become
    bonded to the back of the print.

    Trim this combination to size in the cutter.

    Now, place the print on the mounting board in the right
    position. Using a scrap of release tissue tack a spot on

    one edge using the tacking iron. Use just enough heat to
    make it stick several layers of release tissue can be

    used to prevent over-heating of the print. Again, tack near
    the center of an edge, not the center of the print.

    After the print is tacked cover it with release tissue and
    whatever cushions are used in the press.


    Place it in the press. Close and lock the press for two or
    three minutes.

    Remove the sandwich of mounting board, print, and release
    tissue, and place the whole thing under the flat

    weight for a few minutes to cool.


    The result should be a perfect mount without any bubbles,
    frilling, leakage of adhesive at the edges, or bowing.


    Cooling under the weight is _very_ important.

    The technique of drying out the print using the press and
    weight is also an excellent way of flattening prints

    which are to be mounted in some other way, or to be left
    unmounted.


    The press temperature should be just hot enough to fuse the
    adhesive in the tissue, no hotter.

    For simply drying and flattening prints the press should be
    set for about 190F, no hotter.


    Please post back if any of this is not clear, or if I seem
    to have left something out.





    ---
    Richard Knoppow



    The key to both flattening and mounting is the use of the
    flat weight. The original Seal weight was a thick sheet of
    Aluminum with a handle on the top. Aluminum is a very good
    conductor of heat. However, even smooth plywood works OK. A
    sheet of 1/2 inch is heavy enough.
    For flattening one must have the emulsion side of the
    print against a sheet of release paper and the absorbent
    paper on the back. The absorbent paper can be any thick,
    clean, paper. It should be dried out in the press before
    using it to flatten a print. The purpose of the release
    tissue is to prevent the emulsion from drying out. Paper
    curls becuse of the differential shrinkage of the emulsion
    and support. The idea is to dry out the support without
    drying out the emulsion. The layer of release tissue will
    seal the emulsion side.
    Place the print with the support side against the dry
    paper. Place a sheet of release tissue over the emulsion
    side and a couple of more sheets of paper over the release
    tissue to act as a cushion. Place this in the press and
    close it. It takes perhaps two minutes to dry out the print.
    Then take the whole sandwich out and, at once, place it
    under the flat weight. It will take a few minutes to cool
    off. The cooling will take place faster if a sheet of
    aluminum is used but plywood will cool in three or four
    minutes. Take the sandwich out and you will find the print
    is flat and will stay flat.
    When mounting use the same technique. After fusing the
    tissue in the press take out the entire sandwich of print,
    mountboard, release tissue, and cushioning sheets, and place
    it under the weight. Leave it there for a few minutes. The
    mounted print should come out perfectly flat and smooth.

    BTW, the idea of drying prints against a screen is to let
    the support dry out while keeping some moisture in the
    emulsion side. While plastic screening has many advantages I
    suspect the old cheese-cloth screens were more effective in
    preventing curling because the cloth absorbed some moisture
    from the print and tended to keep the emulsion more moist.

    ---
    Richard Knoppow

  5. #25
    Daan72's Avatar
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    Release paper

    Quote Originally Posted by Jed Freudenthal View Post
    Quote:
    Originally Posted by Daan72 View Post
    Als ik neutraal gbuffert release papier wil gebruiken waar kan ik dat dan kopen?
    Wat voor merk is er voor handen?

    Daniel
    Fred heeft de firma CAMI al eerder gegeven.

    Jed
    @Jed,
    Ik zoek de spullen het liefst bij mij in de buurt, omgeving Amsterdam.
    Mocht ik het daar niet vinden dan zou ik wel naar CAMI gaan.
    Maar ik heb het op 15 min rijden gevonden bij www.petervanginkel.nl
    Dus ik ben voorzien van zuur vrij Siliconen papier.

    Daniel

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