billnikon Loc: Pennsylvania/Ohio/Florida/Maui/Oregon/Vermont

There is a 3M product I really like.
https://www.amazon.com/3M-568-Positionable-Mounting-Adhesive/dp/B00023JK88/ref=sr_1_2?ie=UTF8&qid=1547646491&sr=8-2&keywords=3M+photo+mounting+sheets

Papa Joe Loc: Midwest U.S.

I use the self-adhesive mounting board. If you leave a 'blank' border around the mounted photo, any fine powder (I use kitchen flour!), rubbed gently over the exposed sticky area quickly makes it 'non-sticky'. Just sort of 'rub the powder on the sticky area, blow-off the excess and you're in business. Have used this method for years with no adverse effects.

Blair Shaw Jr Loc: Dunnellon,Florida

Thanks Gene .....I like this idea for it's speed and convenience.

Jimbo

ecurb1105

As a long time film photographer, I sworn by dry mounting prints. But. For a truly archival mounting you need to use archival corners and an overmatt that does not impinge on the image area of the print.

BrianFlaherty Loc: Wilseyville, CA

Here's a suggestion: Contact a MUSEUM that has photo exhibits. Their archivist should be able to make recommendation(s) re: your question. . .

Trust these guys. . with whom "We, the Public" trust our most treasured artifacts! They REALLY know their business!

LolaPL Loc: Richardson, Texas

After you attach the print, be sure to cover it as with a sheet of paper for protection, then go over it with a flat item to smooth out any bubbles.

abc1234 Loc: Elk Grove Village, Illinois

What we do not know is why OP wants to mount a print to poster board. That medium is meant for short-term use only so the 3M spray or any other adhesive is ok. If he wants long term use, then he has to go to printing directly on something like Foam Cor or Sintra or dry mounting on to something like Crescent board. Most foam boards are junk: they warp, the corners ding and the board dents or creases. You need something specifically for mounting photographic prints or vinyl, either self-adhesive or adhesive laminate.

CamB Loc: Juneau, Alaska

It sounds like you only have one print to mount so some spray seems like a good idea. If you are getting more serious about this, dry mounting is the way to go. I paid for my dry mount press with one job 30yrs ago and have mounted thousands of pictures (and other things) with it over the years. As someone in here has noted, most foam core is often bad. When i'm buying sheets I study them very carefully for dings and bends. I probably buy one out of three or four sheets a store has to offer. For those going this direction I have found it is much easier to dry mount the picture to a larger piece of foam core and then trim it to size afterward. This would probably be best with the spray too. It's hard to mount an 11x17 print to an 11x17 anything. Of course it helps to have a professional mat cutter for trimming too. So, for about $2000 you can do this quickly and easily.
...Cam

hassighedgehog Loc: Corona, CA

When I take prints to a photo class or club they are mounted to a foam board with Glue Dots (removable version). Not a generic name, but brand. These are archival, but does not matter as only mounted for a short time. Other brands of a similar product do not work as well, they are harder to remove. One dot in each corner usually does it.

burkphoto Loc: High Point, NC

Scotch Photo Mount spray

Mncarpenter

Here are some mounting options- Ive used the standoffs from Mounting boards.com, very easy and look nice. Make nice gifts. I’m not claiming these are archival, btw. Also have used the 3m spray on foam board from the art store, works pretty slick but a little messy. Ive found the plain black foam board doesn’t really need an edge banding, just need to have a razor sharp blade when cutting and use a good straight edge.
http://www.artgrafix.net/
https://id185182.securedata.net/codamount.com/merchantmanager/index.php?cPath=3
https://mountingboards.com/

Bipod

The best way to do this is dry mounting the photo to museum board (certified archival
paperboard). Some framing shops have a dry mounting press and can do this.

It requires a piece of dry mounting tissue slightly larger than the print. Kodak used to make it,
now it's made by United Manufactuers ("Super Mount") and others. You'd also need a tacking iron
and a dry mount press. The press heats up and melts the tissue. It has a thermostat that allows the
temperature to be carefully controlled.

To dry mount an inkjet print, you must keep the temperture setting below 190F.
At about 220F the inkjet paper delaminates.
https://www.redrivercatalog.com/infocenter/tips/how-to-dry-mount-mounting-inkjet-prints.html

A firm rule in art conservation is that nothing must ever be done that cannot be reversed. How do
you remove Scotch Super 77 spray adhesive from the back of a piece of inkjet paper? (Have you
ever tried to remove old, dried on masking tape?)

Scotch Super 77 spray adhesive is supposed to be acid free, but it contains solvent, propellant
and adhesive and is not certified as archival.

burkphoto Loc: High Point, NC

Scotch Super 77 isn’t the right spray. The good kind is called Scotch Photo Mount Spray Adhesive. It is Acid Free and has been for decades.

https://www.breathingcolor.com/blog/matting-prints/

This linked article is a good overview of best options and practices. Whatever you do, consider storing some copies of your favorite prints in acid-free archival boxes or sleeves.

I have used Scotch Photo Mount Spray Adhesive since the early 1970s. I have dozens of B&W prints mounted with it in 1978 that show no deterioration.

40 years is good enough for me... Just a caution — my silver halide chromogenic paper prints from that era are faded to magenta-red (Agfa) or cyan-yellow (Kodak). I have B&W chromogenic prints from 2003 that are faded, too. My Epson Ultrachrome prints from 2003 show no signs of fading. The files make prints on the same paper today that are virtually identical (albeit with less “bronzing” and metamerism, due to newer inks).

Dry mounting and float mounting are probably the gold standard methods. Using acid free tape hinges with acid free interleaves to make a book-like collection of prints is another good choice.

Bipod

Just curious, Burke: how do you know the formulation of Scotch Photo Mount hasn't changed since the 1970s?
Kodak reformulated D76 and HC110 several times, and all its B&W films (including TriX) were redesigned in 2002
to reduce the silver content as a cost-saving measure.

That's the problem with commercial products: they change without notice. 3M is a great company: but it's a
for-profit stock company.. If 3M really cared about permance of art media, would that please it's investors?
Or are stockholders more concerned with earnings-per-share?

Also, how do you know the OP is using the same papers you used?

And does one remove Scotch Photo Mount from the back of a print? The value of an Edward Weston
nude is $1.2 mn. The value of an Edward Weston nude with Scotch Photo Mount on the back is considerably
less. Sparying that goo on a print could cost you $100,000.

The thing about collecting old prints is that one sees eveything: all sorts of papers, mountings and frames--
and all the ways that these can fail. In the few hundred prints I have acquired, I have seen a lot of
commercial products that damaged prints: from Scotch tape (made by 3M) to mounting corners that
leached black dye.

A friend of mine is an art conservator; he got a B.S. in chemistry with a minor in art history, then did an
apprenticeship at a museum in Italy. He taught me a few simple rules, one of which is: DON'T DO ANYTHING
TO A WORK THAT ISN'T REVERSIBLE.

Finally, which museum or university is the Breathing Color Blog attached to?

The OP should get a book on conservation of photographs, or talk to a paper conservator. He wouldn't take
medical advice from some blog (I hope), so he shouldn't take art conservation advice, either.