Secondly, the print, from not being attached to the mount all over, is
apt, especially when in a large size, to be somewhat wavy and wanting in
flatness. Another plan recommended, as giving a surface resembling
albumen paper, is to paste the back of the print without moistening the
surface, and so mount. Some prints that have been shown thus treated had
so strongly curled the cards upon which they were mounted that it is
evident there was considerable strain and consequent distortion.
A third plan recommended is to paste the back of the print while in
contact with the glass upon which it has to dry; and, when dried, to
mount by passing through a rolling press with a damped card. This plan
looks, at first sight, like that recommended for albumen paper, and
called "dry" mounting. Consideration, however, will show that there is a
radical difference. In the case of the albumen paper the print has been
dried without strain, and therefore but little change is to be looked
for, while the print dried in contact with glass is strained to the
utmost, causing present distortion and future curling of the mount.
Perhaps the evil of distortion caused by enameling may be reduced to a
minimum by soaking the print in alcohol previous to laying it upon the
glass.
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