The Framers Forum

Hi, I have just been asked to quote for 6 20x 30inch photographs by an internationally acclaimed photographer. he has asked for archival mat and suggested I dry mount on my hot press. i am concerned that this is not the most appropriate way of presenting them ,given that this is a non reversible process and that they will sell for a considerable amount of money and will be of increasing value in the future. any suggestions as to an appropriate archival way forward?

If the photographer himself has sanctioned the mounting, I'd say fine. That will become to original form that the print were published in.

Always an interesting topic to follow this one.

I guess you need to know how the photographs have been printed before you can decide on the best method for mounting. For instance, an inkjet print on some nice cotton matt paper will mount well with hinges and a window mount. But a chemical processed glossy print is more tricksy to hinge and will look at its best dry mounted.

Of course, if the photographer had had them mounted when they were printed, wouldn't that be nice with less head scratching for us framers

Archival issues were always a concern for Ansel Adams and he went to great lengths to make sure his prints were processed to archival standards with endless washing and selenium toners. He mentions in his books the desire for galleries and collectors to have his prints hinged but he always heat dry mounted them onto museum board. He preferred to trim his prints right up to the image and sign the board as presentation was just as important to him.

I’m sure his mounted prints will still be passing through collectors hands today for a decent price.

prospero wrote:If the photographer himself has sanctioned the mounting, I'd say fine. That will become to original form that the print were published in.

That's right. Whether mounted by the artist or the printer/framer, if that’s how they go into the galleries and shops then that is their original form. If somebody buys an unmounted collectable (collectible?) print and brings it in for framing then we should give advice about reversible mounting methods so it can be returned to its original form.

Thank you for some great advice. He is going to email giving me details of photographic papers, finish etc, so that may narrow it down as I believe he will want to dry mount. I have used a hot press before on a glossy print and it had a dissapointing 'orange peel' appearance. That was using standard unimount tissue on white display board. I find that even backing off on the pressure there is always a slight texture on any photographic print. Am I missing something?
My current concern is to be able to offer an excellent standard of flatness, and for it to be as archival or reversible as possible. Any advice gratefully received.

If Terry Thomas doesn't jump on this topic soon send a PM to forum member Steve Goodall. He's your man to talk to when your mounting starts to look like fresh fruit

(Seriuosly, do contact him, he will give you lots of advice)

Hi, I now have the prints, one is a 20x20 inch colour, glossy, cibachrome. Apparantly very valuable and irreplaceable, ( no pressure!) i have read that static mounting on flexiglass is an option has anyone tried this? the others are glossy colour digital inkjet photographs 16x20 inch, still very nervous about dry mounting them, any suggestions much appreciated.

DEFINATELY DO NOT HEAT MOUNT THE CIBA!!!

It is made from sensitised polyester & will buckle to hell under heat - sorry to be the bearer of bad news - but better safe than sorry. For these kind of prints I normally recommend sending them to John Jones Fine Art or Kay Mounting - both in London - it will cost an arm & a leg - but they are the experts.

If you are dry mounting high gloss photos then ideally you would want a perfectly flat and smotth substrate. Dibond, or finished quality aluminium plate would both be good options.

I would assume that a self adhesive mounting film would be the best way of doing this and that a clean dust free environment is going to be essential when doing this! Not a job for the faint hearted. Difficult!

The last cibachrome I had I sent to a specialist photo lab and had it mounted onto aluminium. With those things you shouldn't even breath near them, don't touch them - cotton glove job, and don't put them anywhere near a hot press. Please pay someone else to do the job. That's what I'd do.
By the way the one I had did was a 5' high limited edition from the States, I was very relieved when it had gone. Double stacked frame, fabric covered mount and waterwhite glass. I didn't include a price for mental stress which should have doubled the price.