Assuming that the dry mounting is properly performed with an archival mounting board it can still be considered archival. There are different levels of archival framing and for the most part museum quality archival means the mounting process is 100% reversible. Most t-hinges are not at this level since they may leave some adhesive residue on the print. For full museum archival, you need to use Japanese rice paper for the hinge and water activated wheat starch for the adhesive.
Regardless there are plenty of rare photo prints in museums that have dry mounted.
Cheers,
Mark
http://blog.framedestination.com/
http://www.facebook.com/FrameDestination
http://www.framedestination.com/
--- In artshow_photo@yahoogroups.com, "Benjamin DeHaven" <benjamindehaven@...> wrote:
>
> I am a bit of a perfectionist and seeing ripples and waves in some of my larger (12x16 print size framed to 16x20) pieces is making me upset. I am considering having pieces professionally dry mounted. I would have them printed and mounted at Bay Photo, one stop shop... I have no desire to attempt to dry mount on my own at this time. This being said, I know very little about dry mounting. Here are a few questions for the class:
>
> * Is it common to dry mount prints at 8x12 and larger?
> * Does this affect their value (assuming they have any value down the road)?
> * Does this affect their archival qualities?
> * At what point do you stop matting these pieces and sell them print/board only?
> * Do customers seem to care one way or another?
>
> Thanks to all!
>
> Benjamin DeHaven
> http://www.dajdesignsphotography.com
>
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