Not sure if this method will appeal to you, but I thought I'd pass this on anyway. It's an article my husband wrote for another forum. Make sure if you choose to read this, that you have the current version of Adobe Reader as the article is in pdf. format.
this link locks up my computer for some reason. And yes, I hve the current ver of Adobe Reader.
Worked fine with my pc and adobe reader 6.
Does anybody know of an online article with step by step instructions on using a dry press mount for RC and Fiber papers?
I also drymount and use the Seal Buffermount. I have also read a number of threads here and photonet about this subject. Some pro drymount some con.
If you are making larger prints, 16x20 and up, simply taping the corners does not make a great presentation. The middle of the print often bags and warps out and doesn't look too professional. Perhaps with small prints it is fine.
As for the archival part. I have not seen prints drymounted for 50 years or so to make an educated guess. I drymounted color for 20 years or so but they all faded to some degree, because that's just the beauty of color, (thanks Kodak).
As for black and white, I selenium tone, drymount with archival materials and hope for the best.
I have some prints that I dry mounted over 30 years ago. Still holding up fine.
Thanks for the links doughowk
Time to read carefully.
[quote="Doremus Scudder"] 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.
Ditto. I have 10 year old selenium toned gelatine silver prints with no discernable degradation on Seal Archival Mount. Still usin' it. Still gonna use it.