Sorry, I didn't provide my usual reference links, but here is a recent posting of mine on APUG regarding BufferMount, also searchable on LFPF and my own site.
I really don't want this to degenerate into another thread on what is archival and what isn't. Seal ColorMount is actually referenced by Adams in The Print. I believe he used it in later years for permanent mounts and was unconcerned with the "unarchival" prospect of unremovable prints from their mounts. ColorMount is not, however, buffered, as BufferMount and ArchivalMount are. So you end up mounting a archivally treated fiber GSP onto quality (we hope) buffered rag board, with non buffered tissue. Depending on the particular fiber print and its size, I use mostly MT-5 (no longer available) and occasionally, ColorMount.
Are all buffered materials important to you? Is removability of the print important to you? Are you presenting prints for galleries or museums?
If your goal is smoothly mounted fiber print presentation, dry mounting is still the most viable option, warts and all. If your goal is archival "correctness", presentation be damned, then hinge mount prints to buffered rag board and overmat them to separate them from eventual glazing (no more tissue worries ).
There are few "correct" answers. You pays your money, and you takes your choice.
Last edited by ROL; 01-12-2012 at 12:57 PM. Click to view previous post history.