Sounds like the paper is too thin. One problem with inkjets is that the
moisture can swell the fibres of some papers.
One strategy for countering curling in photo prints (due to gelatin
shrinking as it dries) is to mount the same paper (blank, but processed) to
it's back facing the other way.
In your case, it would be easy to take out the photo and dry mount it to a
flat board under pressure, then put it back under the matte. That should
make it flat. The board should be the same size as the matte board.
Dry mounting is archival. It can be reversed by reheating. I didn't realise
"archival" also meant reversible, as well as long-lived, til earlier this
year.
Tom
On Sunday, December 09, 2001 at 15:35, Bob Whitmire
<olympus@xxxxxxxxxxxxxxx>
wrote re "Re: [OM] Matting/Mounting OM produc" saying:
> Related to matting and mounting. Last summer I had framed a number of prints
> for sale in the area. The prints were done on a Lightjet 5000 prints and
> printed on Fuji Crystal Archive paper. (This is a stunning combination, by
> the way.) The fellow I had frame the prints for exhibition was of the
> tape-the-top school. Prints hang free and are matted and placed in metal
> frames.
>
> I've noticed the the majority of these prints, say 90 percent or more, now
> show little wrinkles, crinkles or folds that when the light hits them right
> is more than a wee bit distracting, and, I think, not acceptable in prints
> and framing of the sort of quality I thought I was paying for. Anyone have
> any similar experience? Is this the paper or the process? The framer has an
> excellent rep, which is why I went to him in the first place.
>
> Thanx,
>
> --Bob W
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tOM A. Trottier, ICQ:57647974 http://abacurial.com
758 Albert St, Ottawa ON Canada K1R 7V8
+1 613 860-6633 fax:231-6115 N45.412
W75.714
"The moment one gives close attention to anything,
even a blade of grass, it becomes a mysterious,
awesome, indescribably magnificent world in itself --
Henry Miller, 1891-1980
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