Dry mounting fiber-based photographic prints for framing and exhibiting
Dry mounting photographs, especially my fibre-based baryta prints, is a method I use for my exhibition prints. Dry mounting is a procedure that has been around for many years and is a method used by many well-known photographers worldwide, including Ansel Adams. It involves sticking the entire back of the photographic print down onto a surface, usually 100% cotton rag museum board. Once stuck down, consider it pretty much permanent.
Hinge Mounting vs Dry Mounting
Dry mounting photographs is a permanent bonding, between the print and board. It is now considered a problem by print conservators. Today, they favour the hinge mounting method. Hinge mounting holds the print from several points by taping the print’s borders. This means the print can be removed easily by cutting the tapes as the print back is not stuck to the museum board.
Dry mounting photographs as a personal preference
I personally dislike the uneven surface of larger hinge mounted fibre based prints. Their surfaces catch and reflect light, interfering with my viewing of an image.
Why bother obtaining nuances of tone in high and low print values if viewing a print unmounted prevents you from obtaining a clear and unhindered view? I want to view a print in its entirety. Dry mounting creates a smooth surface and avoids the potential problem of unwanted reflections off the print.
Archival Quality
As far as archival qualities are concerned this method is still used by some of the best and most collected photographers around the world. I have seen reports of archival tests comparing print degradation over time of dry-mounted prints versus unmounted photographic prints.
Unmounted photographs are susceptible to chemical attacks from both the front and rear of the print. There is evidence that dry mounting can be beneficial. It can act as a protective barrier to chemical reactions on the rear of the print.
Importance of print washing
Needless to say, mounted prints must be washed properly including the use of hypo clearing agent and partial toning in selenium, or another print toner, to maximise print archival quality.
Use acid-free materials
Mount boards should be 100% cotton rag avoiding all wood pulp. Wood pulp contains tannins which are acidic and therefore harmful to silver metal.
Sometimes I get asked about the procedure for dry mounting baryta fibre-based prints so here are some sequenced images. Click on the images for step-by-step descriptions.
Select photograph to be mounted Inspect print then place face down on clean surface Place dry mount tissue over print back Align dry mount tissue over back of print Tack 4 corners and middle with hot iron Apply heat tacking to all 4 corners Trim off excess dry mount tissue Apply heat tacking iron to 4 corners With print face up, trim off unwanted borders. Edge of print and tissue will be flush Place museum quality mount board to receive print Place photograph onto museum board Note tissue under print corners is loose for tacking Align photograph with mat Use weighted bags to hold photo in place Position photograph exactly as desired Place weights onto print Carefully lift print corner exposing tissue paper flap and tack tissue to board Repeat tacking for all 4 corners Remove weighted bags Place release paper over image Place release paper over photo Clean print surface with air puffer before release paper is placed over photo! Cover photograph entirely Place board over release paper Place a board over the release paper Board over release paper and photo Dry mount press turn on and at temperature Place print sandwiched between boards into press Place sandwich into press Ensure print is centred under press Close press Close press Time press contact, usually 60 sec depending on tissue and materials Open press and remove print sandwich Flex mount board gently to observe that all parts of the print have bonded Inspect print corner for even bond Let the print cool flat under weight and bond further
