Best Method of Hinge Mounting

Fred's Photos · Post by **Fred's Photos** » Sat 04 Dec, 2004 11:30 pm

My first posting to this forum! As a newbie to framing, I wondered if I could get your advice about hinge conservation mounting. I see some people hinge the photograph to the back of the mat, while others hinge it on to the foamboard itself. Is it satisfactory to attach the photo to the mat?

I have been advised that I should buy a conservation tape such as PH770, which is self-adhesive, PH balanced, and of archival quality. Is this a satisfactory tape to use?

One other question, when framing an A3 sized photo in a 20 x 16 inch frame, would 2 hinges at the top of the photo suffice, or would it be better to use 3 or 4 hinges? For a large photo, is it satisfactory to also put a hinge at the bottom of the photograph?

Thanks very much for your help.

Fred

Post by **John** » Sun 05 Dec, 2004 1:14 am

Hi Fred,

Welcome to the forum.

I rarely hinge a photo as, unless they are very small, they never will stay flat. Instead I usually drymount, though recently, with the proliferation of digital images I am cold mounting more.

There has been some argument against hinging from the back of the mount, but I don't remember what it is. Perhaps someone here will enlighten?

SquareFrames · Post by **SquareFrames** » Sun 05 Dec, 2004 9:38 am

Hi Fred,

Framing photographs is a minefield, even some (not all) so called professional photographers dont know how to treat photographs, (What I mean by that remark before I am pulled up about it, is, imagine drymounting and heatsealing a photograph with your label still on the back of the photograph), and I could see this particular posting be non ending.

Techically to frame all photographs correctly, they 'SHOULD' be conservation hinged and mounted, but this is not always done. I myself do not hinge all, only some. They should also be mounted using 'Unbuffered Museum Quality Boards', no boards of less quality should be used, but to put it simply, are.

To quickly sort out the hinge, use conservation / archival gummed tape, one piece placed behind the photograph, no more than 5mm, the second piece across it making it into a T hinge. The reason for the 5mm is, if anything wree to happen, say it fall off a wall, etc., the tape will break thus leaving the photograph intact.

Most framers (inclduing myself) either drymount (cold, wet or hot) and frame as normal, or drymount and heatseal (I hate this technique, but how and ever...), simply because most photographs are not valuable, and the customer doesnt want to live with the cockling. BUT here is where it changes, because they are not valuable, doesnt mean they are not sentimental, and therefore should be conservation framed, but like every framer in the world, we do as our customer asks, even after advice has been given. In my workshop no matter what photograph comes in, I explain to the customer the why fors and what nots, etc., then leave the decision up to them, but I will not put a photograph directly into a frame behind the glass, this will eventually make the photo and its emulsions, etc. adhere to the glass surface, due to temperature and climatic changes and unseen condensation.

As a member of the Framers Committee of the Fine Art Trade Guild, we discuss photographic framing at most if not all meetings, and I think I am right in saying some research has been dedicated to this subject and will be reported on soon.

If you want any further information there is a book by Alan Lamb on Framing Photography, that is packed full of information and the correct techiques, etc. Available through Moira at the Fine Art Trade Guild in London on 020 7381 6616. I keep this book on hand at all times, great souce of information. My advice is to buy this book, I think off the top of my head, its only £14.99 + posatge, well worth it.

If you want any further advice email me, I will do my best to advise.

Yours,
Steven

SquareFrames · Post by **SquareFrames** » Sun 05 Dec, 2004 9:54 am

Hi Fred,

Sorry I forgot to answer you last bit. 2 hinges is quite enough, and never put a hinge at the bottom or sides, Doing this will make the image cockle. The image has to hang, not be pegged out.

Reason for 2 hinges, is simple. Always look at it like this....it has to be strong enough to hold, but weak enough to break, its like when you lace up a cross-stitch or tapestry, the threads have to be strong enough to hold but weak enough to be the first thing to break when and if something untoward happens, and sometime it does.

If you put the first piece of gummed tape down further than 5mm behind the image, you make it stronger, I would rather a customer bring a pice back that the hinge has slipped or broken rather than bring me back a piece that the hinge has been so strong and has stayed intact and the image / artwork has been tron or destroyed.

pH7-70 is casing such a stir at the moment, and as a member of the fRamers Committee of the Fine Art Trade Guild, I personally dont want to get involved in this, especially on this forum, but heres what I do, if the image is not valuable, use pH7-70, if it is sentimental or valuable I would always err to the safe side, and use archival gummed tape, made by the same people as pH7-70.

Now, every framer on this forum will tell you different, and that is their perogative, but this is my advice, simply its what I use and do. Always remember that any conservation or museum work has to be fully reversable and the main concept of doing such work is to protect and preserve, pH7-70 is notoriously difficult to remove, even the makers promote it as and say it is. One more thing, wear white cotton gloves when handling all photographs, finger prints are even harder to remove.

Good luck in your new picture framing venture

Steven

markw · Post by **markw** » Sun 05 Dec, 2004 10:08 am

Fred
I assume you are framing your own photographs - if you are then you are making the decisions on the quality of mounting used. Basically if you want your photographs to last use the best materials available as stated in Stevens post. I know from experience that many photographers dry mount.

Personally I use PH770 on most work - t hinges at two points at the top of the artwork attached to back board. you will find quite a legthy debate on this forum about ph770.

Couple of questions - are you framing the work?
Is the work being sold to be put in ready made frames?
I ask the questions because you mention that you use foam core, if you are selling the mounted photos many people buy budget price frames and the rebate is just not deep enough to take glass / mount and back. If you sell the item framed then you will obviously take the depth of the mounted image into consideration.

SquareFrames · Post by **SquareFrames** » Sun 05 Dec, 2004 10:16 am

Morning Mark!!

Are you like me, working? No rest for the wicked, eh? Thank goodness for coffee.

Steven

JFeig · Post by **JFeig** » Sun 05 Dec, 2004 2:26 pm

The best instructions for hinging is a techincal page in Greg Fremsted's web site for his products FrameSpace, Nori Paste, Econospace etc.

http://www.framtek.com

There are several technical pages available. I beleive the hinging page was written with the cooperation of a paper conservator with 30 years or so of experience. One interesting feature of the information is how to apply side and bottom hinges so that they give and only hold when there is stress on the art (when durned on a side or transported).

His fairly new product (2-3 years) Nori® is a packaged wheat paste in little sealed packages, much like condoments at a fast food resturant. The entire package has been irradiated for a long shelf life. A single package will do an entire days worth of hinging. It can be kept in a refrig for a day or two safely.

I do not make my wheat paste any more

Fred's Photos · Post by **Fred's Photos** » Mon 06 Dec, 2004 6:41 am

Thanks very much for the informative replies to my questions.

I have a book by Pete Bingham called "Picture Framing" and on page 159 there is an explanation of how to apply hinges to the art and then align the art on a backboard. One question about this: is the top of each hinge placed on the top of the side of the photo that contains the image, or is the hinge placed on the back of the photo? Sorry for such a basic question, but the books I have don't really make this point clear!

Bingham also says that another method of securing art on paper is to use 4 acid free corners. He says that corners require no physical attachment to the paper, and allow the paper to expand and contract. Does anyone use and / or recommend this method?

With regard to the PH 7-70 tape, it comes in 25mm or 50 mm widths. What width is recommended for attaching an A3 sized photo to a backboard?

Thanks again for your help, it's much appreciated.

Regards, Fred

SquareFrames · Post by **SquareFrames** » Mon 06 Dec, 2004 7:21 am

Hi Fred,

Throughout your picture framing career, you will hear Pete Bingham's name crop up. He is one of the world's most respected framers, instructors, demonstrators, and ink, paint and powders manufacturer, (Everst Products) and an active member of the Framers Committee of Fine Art Trade Guild. He was also the Guild's Master for 3 years. Pete also does an agony column in Picture Business, well worth the reading. Buy his 2 videos, Innovations In Mount Decoration, about £18 + VAT from Lion, or ring him direct in his workshop in Sheffield, tell him I told you to ring.

In Pete's book, it should have made it clear that the top of the hinge goes on the back of the photograph, the aim here to to ensure that nothing touches the inage at all, barring a small bit of mountboard all round. i.e.

1. small piece (approx. 25mm) attaches to the back of the image, with no more than 5mm of the tape being attached to the image
2. another small piece, again about 25mm, goes directly across the first piece, making a T hinge.

Photo corners are an excellent idea, I have used them many times in the past to float mount photographs. You can get acrchival one from Lion or good quality craft shops, and the only adhesive bit on the corner is at the back to attach it to the mount.

With reagrd the width of pH7-70, the 25mm size will suffice, after all its only A3. Remember what I explained earlier, the hinge is basically to hold the image in pace and allow it to move naturally, it has to be strong enough to hold, and weak enough to be the first thing to break. 2 Hinges should also be enough, even on larger size items, I very rarely put any more than 2. BUT what you could do if your worried, hinge it, with 2 hinges, and put 2 photo corners at the bottom, belt and braces type, again I would only do this if the inage wasnt that valuable.

Hope that is OK.

Steven

JFeig · Post by **JFeig** » Mon 06 Dec, 2004 1:04 pm

Fred

You commented on aligning a print in a board being a problem of sorts.

We will use a slightly oversized mount board to do the hinging. After the hinges are dry, the top window mount is placed over the oversized board and with a pencil the borders are marked. The backing board is then trimmed to the size of the window mount and a linen tape "book hinge" is installed to attach the 2 boards together.

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