RE: Dry Mounting

Liam,

You wrote:
> I'm not too bothered about the views of conservators who, in my
experience, are opposed to almost EVERYTHING <snip>

You are a serious guy doing serious work. I'd like to make a few
observations. FWIW - I'm very happy to take my cues from the people who've
had to deal with the decisions photographers and artists have made (good and
bad) over the years. They have some useful observations! And what I've
almost universally heard is complaints about drymounted prints - regardless
of what Ansel opined.

Joachim wrote:
> For single weight papers, such as AZO, it's ideal <snip>

OK. Perhaps.

But, for the alt-process community the choice seems to me to be obvious. You
are, by and large, working with papers with significant physical strength.
It seems to me drymounting is neither necessary nor desirable. And, for
those of us still using gelatin silver: single weight papers are not in wide
use - even within the limited practice of gelatin silver! Most of us are
using double or triple (museum) weight papers - which also have significant
physical strength. Flattening prints (in a heated press) and tipping them
underneath overmats seems to me a very good option.

Dry mounting *limits* the choices collectors have in the future - it does
not enhance the options.

The other issue I'll bring forward here now is the "Ansel Adams School" of
thought which has us sign prints directly under the image and having the
signature remain in full view. Or, even worse, signing the mat board to
which the print is mounted. Sooner or later that print and mount board
*will* be separated. And, there goes the signature - and value. (But really
folks, what are the chances your prints - or mine - will be sought after 50
or 100 years from now? PRETTY DARN SLIM!)

And further, if it's "the work" to which we are truly committed then let's
sign our name someplace out of view and not offer them as a distraction!

In my opinion, by tipping the print into a mat, the artist is able to sign
the print on the back (or anywhere their heart pleases), and also note any
other information they might deem worth recording. FWIW, my prints are
signed, titled and dated on the back of the print (with the dates the print
was made as well as that of the negative - which is in lieu of the
*printmaker's* habit of editioning.)

But, let's not get started with *that* discussion!

OK. I'm done....

Jon

www.jonathan-bailey.com
Tenants Harbor, Maine
Received on 06/02/06-07:19:26 PM Z