The traditional method is to dry the print emulsion side down on a
screen. Modern fiberglass window screens work fine. The idea is that
the screen keeps the emulsion side from drying out too fast and causing
curl. Curl happens anyway but is probably not as severe.
  Another traditional method is photo blotters. These used to come in
books and rolls with an intermediate sheet of water proof paper. The
idea is the same as the screens, to allow the drying to happen from the
support side first. Blotters have the disadvantage of being slow and
posing the risk of contamination.
  A method I've found works well is to hang the prints using clothes
pins. One at each side at the top, two more at the bottom corners as
weights. The disadvantage is that the pins leave marks. If you are
going to mount the prints you will probably be trimming the edges off
anyway.
  Heated print dryers were used for commercial and photofinishing work
but are not good for the emulsion or backing. Let the prints dry
slowly.
  Flattening is best done in a dry mounting press even if you don't
dry mount. The technique is to place the print on a sheet of two of
thick Kraft or construction paper which has already been dried out in
the press. Put a sheet of release tissue over the emulsion side and
another couple of sheets of paper over this as a cussion. Dry in the
press at around 190F or less for a minute or two under light pressure.
Then place the entire sandwich of print, paper, and release tissue
under a flat weight to cool for a few minutes. The prints will be flat
and will not curl. The idea of the release tissue is again to prevent
the emulsion side from drying out.
  Prints which are to have a very glossy surface must be dried on
ferrotype plates. This is a process which requires some care and is
usful only for this purpose. If you are interested in this I will
describe the procedure I've found reasonably successful.

Richard Knoppow
Los Angeles, CA, USA
dickburk@ix.netcom.com

 I use a blotter stack. The stack begins with
a corrugated board at bottom with a blotter placed
on top then prints, another blotter and board, all
topped off with a few books or other weights. The
stack can be built as high as you like.
 Prints are dry and ready to mount out of the stack.
Tuck it easily away when not in use. Likely you could
put one togeather for under $5. I'll provide more
detail if you're interested.                      Dan

I use a procedure a little different from mostly everyone else "nothing
new on my part".

I dry them face up on a plastic screen, I do this because I had noticed
on the onset some prints face down had screen marks in the emulsion.
Maybe because I did not squeegee them? Anyway I have yet to see
water drop marks from my doing drying face up probably because I very
diligently wash my FB prints. They do curl a lot, but I flatten them in
a dry mount press using a sheet of acid free board above and below the
print using a press temperature of 200 degrees F.

I simply hang the prints by clipping it at the corner with a binder clip.
Leaves a little mark, but nothing that bothers me.  

Regardless, how will your customer feel if you send him a unmounted,
curled fiber print?  Even if you use drying screens, blotters, etc, the
print will still curl without dry-mounting it.  

I dry mine face down on a screen overnight and then press them flat.
8x10 I just stick inside a large book. 11x14 I would probably lay flat
on a table and press with something like laminated hardboard. Or maybe
foamcore. Weighted with books.

If you let them continue to dry unweighted they will curl up.

You don't mention if you're familiar with FB paper or not. If not, then
be sure to read about the somewhat different fixing and washing methods,
too.

Bob

feb2305 from Lloyd Erlick

I've got an article on my website about drying FB
prints. It's under the 'technical' heading in the table
of contents.

I like to handle a print in such a way that nothing
touches the face/image area while it is wet. I decided
the only way to be sure nothing has contaminated the
print is to permit nothing to touch it while it is wet.
Obviously certain things must touch it, like solutions
and the tray, but I've worked out a working method that
reduces it to the absolute minimum. That means no
fingers, gloves, tongs, squeegee, etc. It also means no
chemical exposure at all for skin, among other things.

I dry my prints by hanging them, and in place of a
squeegee I sluice down my hanging prints with distilled
water, both sides.

regards,
--le