Mounting 20x24 Sized Prints

[scott_killian1]

I'm wondering how those of you who make 20x24 prints mount them for framing. I

own a Seal dry mount press which can handle up to 16x20 and I know that many

people don't like dry mounting, but it seems like larger prints like 20x24 would sag

with corner mounts.

 

How are those of you who mount prints that large doing it?

[steve_baggett]

I use PMA adhesive from 3M. Comes in rolls 20in wide and I get mine from Light-Impressions (http://www.lightimpressionsdirect.com). It's not archival (because it's not reversable) but it is "conservation" i.e., doesn't contain acids and other bad stuff.

[michael_a._smith1]

When I started making 18x22 contact prints I bought a larger

dry-mount press. The Masterpiece 500, I think Seal called it.

[michael gordon httpwww]

I mount with 'standard' t-hinge technique and loosely place archival mounting corners on the bottom corners of the print. I use all archival materials. It's very climate/condition dependent, but I get very little to no 'waviness' from my prints.

[nicholas_f._jones]

So, far I've printed this size only on RC paper (Kodak Polycontrast III RC--my test sheet paper), then mount on foam board with Seal ColorMount mounting tissue. The tissue comes in a 24 inch 150 foot roll (obtainable at B&H). This size requires two passes on my Seal 210M press. We're very pleased with the results, but we'll be trying out fiber paper soon--but still on foam board since the cost of matting, acrylic, frame, etc. is prohibitive at this size.

[jim_becia]

Scott,

 

I use PMA also and it actually comes in 24 inch rolls also. While mounting this size is not recommended by Scotch, I mount my 24X30 photos with it. You just have to handle the photos carefully. I did a rather impromptu test with it last year. I mounted many photos for my art fair circuit. The photos would spend the summer in and out of my van in 90 degree plus weather. When fall came, I unloaded them in to my garage with the idea of taking them in to my basement. Well, that never happed. The mounted photos spent the winter in the garage (not heated) and the temps got down to -25 degrees once in a while. Never did get them to the basement and this spring I was a bit apprehensive about what might have happened to the mounting. Everything was perfect, so I like the fact that this PMA can stand up to extreme temperature changes. I have been using it for three years and think it's the easiest "non-expensive" way to mount photgraphs. I get mine through United out of New York and it runs about $1.30 per linear foot (24 inch roll), I think. I like this method for my work. Jim

[michael_mcblane]

I dry mount my 20x24s with Seal Colormount and a drymount press on archival fomecore and use archival matts. If you have a smaller press you just make more than one pass.

[john_cook1]

In as much as a large Seal dry mount press now sells for a little more than a Volkswagen, we have turned to 3M spray photo adhesive:

 

http://www.3m.com/us/mfg_industrial/adhesives/framing/html/scotch6094.jhtml

 

An alternative for fiber prints, including murals, is wet mounting. I can write a short (but snappy) essay on the technique for anyone who's truly interested. (e-mail me)

[greg_pratt1]

One problem of note (out of many) I experienced when mounting in the studio resulted in a lost print and more than a few suplimentary phrases.

 

Hot evening, large print, about 2024 or so. Nicely mounted using rub on membrane. In the morning after a very cold night I found unremovable contraction ridges on the print.

 

It seems contraction may be a factor to be aware of. I think of the print as well as the membrane which inadvertantly gets streached as the backing is pealed away. Heat pressing avoids this situatiuon. Otherwise I have been happy with the rub on technique.

 

2/- worth

[chris_glanton]

Curious, does making multilple passes on a smaller dry mount press cause lines on the photo at the junction point?