RE: Dry mounting

Let me add my 2 cents and up the ante by another wooden nickel: It is true
that museum curators prefer slver gelatin prints that can be readily
separated from the mounts, but I am sticking with the Great Father of
Eternal Photography Wisdom, Ansel, who dry mounted. In addition to the
aesthetic qualities Dan refers to I believe - and I know that others may
disagree but I am right - the mounting enhances longevity by sealing off the
back of the print against environmental enemy aliens. (There is an art to
dry mounting that is not easily acquired and that may discourage some, and
shape the political climate). Joachim

-----Original Message-----
From: Dan Burkholder [mailto:fdanb@aol.com]
Sent: Monday, September 19, 2005 9:13 PM
To: alt-photo-process-l@sask.usask.ca
Subject: Re: Dry mounting

Not much to add to Ryuji's comprehensive reply but I will add that for
presenting silver gelatin prints, there is a special elegance to a
trimmed, dry mounted and window matted print. Falling off the perfectly
flat print onto mount board gives a certain sense of visual containment
that elevates the print, both literally and figuratively. And that
"flatness" seems to matter in a silver print, maybe because silver is so
suited to rendering line and plane effects.

My $0.02

Dan

Ryuji Suzuki wrote on 9/19/05, 1:32 PM:

> Dry mounting is good in keeping the print flat, but it is terrible in
> terms of reversibility. Dry mounting may be good for easily reproducible
> work for display, but the choice becomes questionable if the work is
> precious.
>
> 300gsm or heavier paper shouldn't present much difficulty in flatness in
> those sizes, once curling is removed. I wouldn't dry mount those prints.
>
ase let me know.
>
>
> On Mon, 19 Sep 2005 18:00:55 +0100, "John Brewer"
> <john@glossyormatt.com> said:
> > Dear list members
> >
> > What are the pros and cons of dry mounting? The papers I use are 300gsm
> > for 5x7 prints and 425gsm for 8x10 prints if that is of any
> consequence.
> >
> > Cheers
> >
> > John
>

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