Mounting photos

[sim.on]

Sorry if this has already been covered, I did have a quick look. I do work for a photographic studio and every photo I frame is rolled flat onto self adhesive board as it's nearly all large format work (20" x 30" etc) and I don't have a press. It's all lustre finish on thick paper so there's none of the orange peel effect. We have an understanding that if I mess up on one (which I haven't yet) then they will have another one printed off. What I would like to know is if someone had a photo done professionally in a studio and it might not be replaceable (done about three years ago) would you go ahead and stick it down or just book mount it if it isn't too big? I know squat about presses and the risks if any of using them.

[Graysalchemy]

I always make customers aware that if they want it pressing then it comes with risks. Usually if a cock up occours I replace the print, but I wouldn't want to press anything which is original or non replaceable ie old posters etc.

It goes without saying I wouldn't press an original painting or limited edition print.

AG

[TONY.W]

I agree with AG.We used to explain to customers the pitfalls and then they used to sign a disclaimer just in case.Touch wood we never messed one up.But you never can tell.......
Tony

[prospero]

You said it yourself sim.on. If it can't be replaced, don't carry out risky procedures on it. Mounting is quite a violent process and with the best will in the world, cock-ups do happen. Old photos generally have little or no intrinsic value. In the case of something that did, sticking it down will wipe out that value by making it unattractive to a collector. Even if you did it perfectly.
But some things have great sentimental value and once they are gone.....

[sim.on]

Thanks a lot. In the future when a customer turns up with a cheap holiday poster which has lived in a tube for a while I'll offer a (informed) choice of having it flat against the glass. After all I've got four Graeme Sims prints I bought when I was very young (from cutting out tokens on Brooke Bond tea boxes) and they've been sandwiched between glass and MDF for the last thirty years and the only visible damage is fading.

[Nigel Nobody]

and they've been sandwiched between glass and MDF for the last thirty years and the only visible damage is fading.

Interesting that you use the word "visible". The break down of the fibres of the paper may not be "visible", but it's there. Just like when someone has a cancer inside them, it may not be visible, but it does exist and it does cause damage!

There is lignin in wood pulp. (MDF is made from wood pulp) Lignin produces acid and acid breaks down the fibres in the paper and makes them very brittle. The paper will be damaged if it's in contact with any wood product, even for six months. The longer it's in contact, the worse the damage is. The acid could also be a contributing factor in the fading.

It seems that some framers remain continuously in denial of this fact, and that's their choice, but they are mistaken, and to continue to place materials made from raw wood pulp against the surface of any paper art that has a value to the owner is irresponsible.

For temporary framing it's probably OK, but for items that have a value, it will cause damage!

[sim.on]

Don't know if there's different standards of MDF but yes image against glass or not I always use a barrier board no matter how small the job. Sometimes I will receive a framed (not one of mine [before I started]) limited edition photo from the studio I do work for which hasn't sold and the photographer wants to use the same frame for a different mount/photo. The price (high) is sometimes still on the frame and the photos are taped to the window mount with brown tape and that's it! No back mount or barrier card.

[Nigel Nobody]

It great that you use a barrier Simon. A 4ply rag or alpha cellulose barrier will hold back the acid from wood products for many years.

Hugh Phibbs, coordinator of matting and framing services at the National Gallery of Art in Washington, D.C.told us in a seminar on the physics of conservation framing in Anaheim last year, that the only true barriers to acid, are metal or glass, if we are trying to protect valuable art. In true conservation framing the products used behind artwork don't require barriers due to the non acidic nature of those materials.

It's very interesting to hear about the things they do in museums with art. Everything they have is extremely valuable and requires the very best methods and materials. Unfortunately we live in the real world and can't always do the same as they do, but I like to do the best I can for the money that the customer is willing to spend.

[sim.on]

Thanks Ormond for the info.