Choosing a press for dry mounting photos

[@RenYang-s8t]

What a beautiful color palette! Where can I see the most of your work?

[@elizabethgbrooke]

Thank you for such helpful information

[@johnhigginson5079]

I'd been wondering about these amazon presses, thanks for the demo

[@callmeBe]

So, the answer is, this will work great for mounting. BUT, read my comments on exactly how to use them. (The print is not centered--in the middle--of the machine. You place the print about 25% below being centered in the vertical axis, and dead centered in the horizontal. And your print will come out 100% flat on the first try).

[@Pfukr]

Thank for such an informative video

[@jakelindsay6251]

Just seems like a lot of effort and cost when some acid free tape could do the same job. What am I missing?

[@callmeBe]

A lot. Mainly, the print will not lay perfectly flat. But there are also other reasons, having to do with forgery, or reparation of a print without documentation. Usually, even if you tape, due to humidity and such over time your print will slightly change shape and you will end up with bumps and bulges. You might get away with tape on a double thick paper in 5x7, but anything larger--nope. This is especially considering a number of photo papers are tissue thin (like the AZO I use), and so unless totally secured, they will not retain their shape once they dry. And, this was the absolute standard for printmaking for at least 130 years--everyone from Edward Weston to Ansel Adams used this exact technique. If you go to major galleries (Photography West in Carmel, or the Weston Gallery also in Carmel), this is still the golden standard (even if contrary to some museums), and if you were trying to sell, they would not even consider looking at your work with less. In this professional field, tape is still considered highly amateur. That is especially considering that there are a number of dry mount adhesives that have been available for years that are bonafide archival (ie: Seal ColorMount, or DryTac Trimount). Many museums prefer tape nowadays, mainly because if there are issues with the print, it can be separated from the mount board. But that is solely a museum thing, and they still buy and collect otherwise. They just prefer sleeves or tape, or some other manner where there can be separation. But that is definitely not the industry standard. You will never see a taped print on the auction block of John Moran or Edwynn Houk. Thanks for the question!!

[@dannyaltman6370]

thank you. i just started looked at heat presses as an alternative to a dry mounting press. i am very curious as to what you think caused the imperfect seal at the edges.

[@callmeBe]

It has to do with the imperfect weight distribution of the palate (upper part of the press). With my press, I found that it performs perfectly if the print is not centered in the very middle of the press, but placed about 4" down--still centered laterally. (Works well for up to 11x14 prints. I don't know beyond that). Since then I have never once had a problem. And, I am super, super picky. There is a turn where you can also adjust the pressure the upper palate puts on the lower, but that does not seem to make any difference. The heating element seems to be consistent all the way around (every once in awhile I spot check the heat with a laser temperature reader), so that makes life a lot easier. For years I used a high end photographic press (Classic Seal), but the heating element finally gave out, and I could not find a replacement. Meanwhile, the price of photographic presses has gone through the roof (+$1K). While the brand new press I have now ran $200.00 (with shipping). My results are: now that I place the print down somewhat, the handling and net result between this press and a photographic are no different. Also, make sure you are using a high quality mounting adhesive. For years I used ColorMount. But it is no longer made. Now I use DryTac Trimount as it is archival by definition of it's chemical makeup and base paper (museums will not define it as "archival" because once it is set, it can not be separated from the print), and it seals at a VERY LOW temperature. I have used it for a number of years, and never once had any problem with it. It certainly handles as well as ColorMount). One other important point: DON"T use release paper!!!! Use Bristol Board, which is 100% cotton fiber, and acid free. But you won't get any wrinkles with Bristol Board--no matter how many times you use the same board. The more you reuse release paper, the more wrinkles you will get on the prints. Ask more questions if you need. Good luck!