You don't have to dry mount, or even attach a print permanently to any mount if you don't want to. You can do anything you want to with your prints. Anectdotal opinions about the inadequate longevity of dry mounting may in fact suggest more about the working methods of the specific worker. A visit to any showing of AA's prints will reveal dry mounted prints coming up to 80 or so years (I have perfectly fine, dry mounted, personal prints, over 35 years old – I guess I must have messed up somehow ). Worrying about what some curator may do with your prints is about as absurd as planning what you will buy with the millions you will win from your lottery ticket. Glue 'em down if ya want!
You can, however, achieve a nicely presented print, without permanent adhesion, by using mounting corners (easiest, as previously suggested), or hanging with linen tape, and overmatting (i.e., cutting a beveled window to cover both the mounting corners and sufficient print margins). Just make certain you can print with sufficiently crisp margins with a good easel, planned large enough to accommodate the corners or tape, and signing if you wish. BTW, overmatting into the print area itself, while perhaps enabling visible cropping, may inevitably result in a sharply cut bevel edge digging into and injuring the printed emulsion. The only difficulty will be getting fiber prints (especially larger; RC not so much) as flat and smooth as possible – for which a mounting press will be invaluable – but then it seems the use of an expensive press is often at the root of many beginner's objections to dry mounting. Do I need to make a video on this too?!?
Last edited by ROL; 04-15-2011 at 12:15 PM. Click to view previous post history.