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..



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


Similar materials are also sold by Hunt-Bienfang


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

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