Dry mount press and usage

[MikeN]

Advertisement (gone after registration)

BTW – did you do a custom calibration of the Zone Master for your paper? I am just about to switch from Ilford Multigrade IV FB to the new “Classic”, and I suspect that a calibration for the new paper might be good or necessary. Any thoughts?

Hi Michael, thanks! I put my answer into "The Print" Thread, because I don't want to hijack Martin's one

[otto.f]

BTW – did you do a custom calibration of the Zone Master for your paper? I am just about to switch from Ilford Multigrade IV FB to the new “Classic”, and I suspect that a calibration for the new paper might be good or necessary. Any thoughts?

 

 

What is the new Classic?

[Advertisement]

The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[Michael Hiles]

What is the new Classic?

 

Ilford has changed its basic B&W multigrade paper. For years the basic paper was Multigrade IV (either fibre or resin coated). They have replaced it with Multigrade Classic (FB or RC). Look at their web site. There are better explanations. The old stuff was, IMO, the gold standard. I am expecting the new stuff to be better (even if only a little bit). I am on my last 3-4 sheets from the old box, so I am planning for what to expect from the new box.

[otto.f]

Ilford has changed its basic B&W multigrade paper. For years the basic paper was Multigrade IV (either fibre or resin coated). They have replaced it with Multigrade Classic (FB or RC). Look at their web site. There are better explanations. The old stuff was, IMO, the gold standard. I am expecting the new stuff to be better (even if only a little bit). I am on my last 3-4 sheets from the old box, so I am planning for what to expect from the new box.

 

 

I was startled, thought there was some czech factory that re-introduced the AGFA Classic baryta

[otto.f]

Which one do you use and which works best?

 

This is what works for me, showing the drying process with the aquarel tape.

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Edited January 19, 2018 by otto.f

[otto.f]

Although you need to do this on real glass. On plastic it will come loose and result in a little bending, but still possible to frame. These are proofprints and I just wanted to show the idea.

I’m amazed btw about the quality of this paper from 2005: AGFA Classic MC, stored in the attic against the roof at the north side. Tonal values look as if I bought it yesterday (which is hard to see here on this iPhone capture in tungsten light).

Edited January 20, 2018 by otto.f

[Martin B]

Advertisement (gone after registration)

Update: I found now the best way to handle fiber based prints with the press to flatten. I pretty much follow Mike's advice given earlier - I first dry the print (in my case 11x14") face up onto a flat glass plate and seal the borders with tape. I dry it over night at room temperature. The dry print is fairly flat but shows some wrinkles on the side of the paper. I bought some silicone coated dry mount boards from B&H and cut it to fit the size of my Bogen 18.5x22.5" dry mount press (my very old fiber based boards from the previous owner of the press gave me some trouble in the past with prints sticking to the fiber). To flatten the print, I place it face up (probably doesn't matter here which way) in between the boards and press it for three minutes at 180F (82 deg C). The result is a nearly flat print which can be matted and framed directly afterwards. 

WHAT DOES NOT WORK (OR DON'T DO):

I ran a few attempts drying the wet fiber print directly in the press without success. First attempt was to place the wet print between both old fiber based boards and heat it for 15 minutes to 180F. Result was that part of the dry print was stuck to the fiber board on the face-up side. I destroyed the fiber board underneath because it sucked up the water and wrinkled severely. 

Second attempt was doing the same thing with another wet fiber print but removing the face up fiber board that the print touches directly the metal of the press. I used the wrinkled fiber board underneath the print since I figured that it will simply just suck up more water anyway. I kept it in the dry mount press for 15 minutes at 180F - this time the print was perfectly flat but the wrinkle pattern from the board underneath showed through the print leading to bad wavy pattern inside the print. 

Third attempt used a different approach avoiding any of the fiber boards. I placed the new wet fiber print face down(!) onto a flat glass surface, about 5 mm thick. This way I hoped that the water would evaporate from the back side of the fiber paper which touches the hot metal of the press. I kept it in the press for about 30 minutes at 180F to make sure all water has escaped. This worked well in theory, but now the face-down print stuck to the glass surface! It was so stuck that I was not able to get it off without destroying the print. I had to use steel wool in water to remove the paper from the glass! Obviously the glass surface adsorbs to the emulsion side of the print. 

This was my last and final attempt to speed up the drying process of wet fiber prints.....hours spent to realize that it does not work this way. But at least I learned a lot from the failures! 

Edited March 2, 2019 by Martin B

[Jeff S]

You should buy release paper to protect prints in your press (in addition to boards to cover the platen)....

https://www.unitedmfrs.com/category_s/1332.htm

Jeff

[M.Hilo]

On 3/2/2019 at 9:59 PM, Martin B said:

Update: I found now the best way to handle fiber based prints with the press to flatten. I pretty much follow Mike's advice given earlier - I first dry the print (in my case 11x14") face up onto a flat glass plate and seal the borders with tape. I dry it over night at room temperature. The dry print is fairly flat but shows some wrinkles on the side of the paper. I bought some silicone coated dry mount boards from B&H and cut it to fit the size of my Bogen 18.5x22.5" dry mount press (my very old fiber based boards from the previous owner of the press gave me some trouble in the past with prints sticking to the fiber). To flatten the print, I place it face up (probably doesn't matter here which way) in between the boards and press it for three minutes at 180F (82 deg C). The result is a nearly flat print which can be matted and framed directly afterwards. 

---

I have a Seal 210 press for up to 16X20 and a Büscher Press for up to 20X24. I imagine these do not differ much from your Bogen press.

I dry in the air, like you. Except I hang the prints on lines. I have always put the prints face down inside the press, thinking the heat impact is first to the paper carrier and second to the emulsion. After that I "rest" the prints between acid free cartons for a night or so. Lastly, I trim half a centimetre of the all sides, that removes the tension the paper has.

 

Edited March 6, 2019 by M.Hilo