Nadeau's 2nd revised edition on Platinum Printing suggests, not to
dry mount the Platinum prints stating that it makes the conservator's life
easier. Most other alt-photo authors are silent on this issue (Shillea,
Skopic(sp?) et al).
Other photographers and authors endorse dry mounting (at least for silver
prints) and practice what they preach (Ansel Adams, John Sexton, Bruce Barnbaum
et al). (Sudek exhibition prints are dry mounted as well).
I have to admit that many of the dry mounted prints still look wonderful even
after 50+ years of exposure to urban atmospheric pollution.
Interestingly, though, the Platinum prints that I have seen "in the flesh" so
to speak, hanging on museum walls, appear to have been, for the most part dry
mounted. Also, most of the prints were neatly trimmed so as to remove
any hint of brush strokes. (I understand they were out of vogue in the 1930's).
While, many contemporary, but not all, Platinum prints that I have seen show
prominent brush strokes (e.g. Paul Caponegro).
I'm starting to print a small portfolio of prints, first in silver then in
Pt/Pd.
For the silver prints, I've decided to enroll in the Ansel Adams school and
Dry Mount the final prints. I don't know what to do with the Pt/Pd prints
however.
So here are the questions (comments, suggestions and discussion are
appreciated):
How are others finishing and presenting their Pt/Pd prints?
Are your Pt/Pd prints dry mounted or not?
Are the brush strokes masked off or not?
I have to admit that I'm leaning towards masking off the brush strokes
(rubylith)
and dry mounting so that if the prints Pt/Pd are hung side by side with the
silver
prints there will be a certain uniformity in presentation.
As always, thoughts and suggestions are appreciated.
Robert Hudyma, Email: rhudyma@idirect.com,
Semi-Tech Microelectronics, 131 McNabb Street, Markham Ontario Canada, L3R 5V7