How do you mount your prints?

[DannL]

I am interested in learning all the common accepted methods to mount a print. But, I am especially interested in how "you" mount your prints, both small and large prints, and prints that are sold. Thank you.

 

[eclarke]

Hot mount with a Seal press...Evan Clarke

 

[Ian Grant]

All my prints are archivally mounted, and I use what are regarded as best practice techniques. This means no dry mounting (hot mounting) as museums and collectors don't think this is archival.

So I mount in window mounts using archival tape on the corners, each print having a 2" (approx) white border, I've done this for over 20 years now, prior to that I dry-mounted.

Ian

 

[panastasia]

Dry mount on acid free board using archival grade dry mount tissue. The required dry mount press is also used for flattening prints (best for fiber prints). This method is somewhat reversible with the proper tissue.

Prints mounted in this way will always be flat regardless of humidity; which will cause unmounted prints to curl and warp, even after framing, giving a very amateur appearance over time.

Recommended for work to be sold.

 

[Ian Grant]

Recommended for work to be sold.

Depends who you want to sell to. Most collectors & galleries won't buy dry mounted prints, and I don't know any serious or well known photographers in the US or UK who sell dry mounted prints - it's never even an option.

I collect photographs and there is no way I'd ever buy a dry mounted print.

Ian

 

[Lee Shively]

I hinge the photo to the mat board with photo tape, put a backing board loosely behind it, put it all in a frame and hang the sucker on the wall.

 

[panastasia]

Depends who you want to sell to.

Ian

Yes, I agree.

I sell to the general public and they prefer dry mounted in exotic wood frames, when given the options. They sell at a higher price.

I aquire antigue photos for restoration but I never buy them, I'm not a collector; and I never considered selling to a museum.

Paul

 

[JBSmith]

Museum mounting of photos

As a museum preparator, I can tell you how we do it here:
typically we window matte photographs, and use one of two methods for mounting the image. If it's a loan and is therefore being returned to the lender, we use photo corners so there is nothing permanently affixed to the photograph. (These can be plastic or made from archival paper and linen tape.) If it is in the collection, we use a thin paper (mulberry paper) that is affixed to the photograph as hinges with wheat starch (or rice) paste. This allows us to make "hidden hinges" so that we can float the entire image in the window. It's also better than linen tape because linen tape hinges will often leave a dimple where they attach to the photo. Wheat starch paste is very easy to remove as well, but strong enough to hold the photo in place.

I am interested in learning all the common accepted methods to mount a print. But, I am especially interested in how "you" mount your prints, both small and large prints, and prints that are sold. Thank you.

 

[Ian Grant]

Good first post, very informative

Welcome

Ian

 

[Travis Nunn]

I use photo corners on a backing board and overmat with a window mat. I don't like to drymount my photos, it's too permanent.

 

[Monophoto]

I don't know any serious or well known photographers in the US or UK who sell dry mounted prints - it's never even an option./QUOTE]

Adams routinely dry-mounted his prints.

 

[Ian Grant]

I don't know any serious or well known photographers in the US or UK who sell dry mounted prints - it's never even an option./QUOTE]

Adams routinely dry-mounted his prints.

Maybe but I still wouldn't buy one. He also died quite a few years ago now.

Since his death many things have changed and conservationists really don't like dry-mounting.

Ian

 

[Dave Miller]

If they are intended for framing, then I corner mount onto a backing card and hinge an over-matt to that.

If they are going to be exhibited unframed,or entered for competition then I dry mount to a backing sheet and over-matt. The over-matt then being glued to the backing sheet.

 

[mark]

I am interested in learning all the common accepted methods to mount a print. But, I am especially interested in how "you" mount your prints, both small and large prints, and prints that are sold. Thank you.

With the image facing out.

Corners and over matted. I have always found floating to be kind of unfinished.

 

[panastasia]

If they are intended for framing, then I corner mount onto a backing card and hinge an over-matt to that.

If they are going to be exhibited unframed,or entered for competition then I dry mount to a backing sheet and over-matt. The over-matt then being glued to the backing sheet.

Dave,

I've been doing the same as you describe. I never dry mount color prints, though. I corner mount those.

Hand colored prints are always dry mounted before any work is done, for obvious reasons regarding surface tension - it's standard practice.

Paul

 

[Jim Jones]

For my unsophisticated and low dollar market, archivally dry mounted. When upscale galleries come knocking at my door, I'll follow their preferences.

 

[panastasia]

Maybe but I still wouldn't buy one. He also died quite a few years ago now.
Ian

The price of his work still commands a high price and probably always will. They even named a mountain after him. I don't think he cared as much as you do about what the conservationists want - unless we're talking about the outdoor environment. He was big on saving that.

Paul

 

[eddym]

I use the mylar corners from Light Impressions, with an overmat.

 

[jkittelberger]

Michael A. Smith is one serious/well known photographer who seems to dry mount his prints. And even goes so far as to say dry mounting is more archival than photo corners. Whether or not that is actually true is open for debate.

Dead Link Removed

Personally, I prefer a perfectly flat print you can only get from dry mounting.

 

[DannL]

I do have several prints circa 1900-1910 that were/are only tacked across the top with what appears to be a paste. Maybe starch. They have survived exceedingly well, and the adhesive solution used caused no deterioration of the print. One print is single weight and the other is double weight or thicker. I suspect even back then some photographers were concerned, and used a minimalist approach to mounting. Even the vintage portaits where the entire print is affixed solidly to the backing board have survived very well. I guess 3M spray adhesive is out of the question?

 

[Neanderman]

All my prints are archivally mounted, and I use what are regarded as best practice techniques. This means no dry mounting (hot mounting) as museums and collectors don't think this is archival.

So I mount in window mounts using archival tape on the corners, each print having a 2" (approx) white border, I've done this for over 20 years now, prior to that I dry-mounted.

Ditto.

 

[jovo]

When upscale galleries come knocking at my door, I'll follow their preferences.

I quite agree. I've just mounted, matted and framed 20 prints for a show. As it is my first, I've no idea who will buy my work or if any will sell at all. Since I don't have a first rate trimmer, I mat over the edges of the image which gives a very, very clean appearance. (At the AIPAD show, there's seems to be a 50/50 split between floating and not floating the photograph.) I'll be very happy if people buy the work to just hang on their wall. But, if a collector wants to buy a print unmounted, I'll certainly make one to order.

I use Bienfang Color Mount tissue for mounting all my fiber prints even though it seems directed at RC and color material. I think the results are excellent.

BTW.....however unlikely it may seem, the most liberating thing I've done to free myself from the constraints of rigid compositions is to learn to cut my own mats. Sometimes an "11x14" is much better rendered with modified proportions. Mats cut to suit makes this an easy choice to make when it's a good idea.

 

[panastasia]

I do have several prints circa 1900-1910 that were/are only tacked across the top with what appears to be a paste. ...

Even the vintage portaits where the entire print is affixed solidly to the backing board have survived very well. I guess 3M spray adhesive is out of the question?

I also have some century old prints that stood the test of time, but the board some of them were mounted on deteriorated and crumbled (brown/acidic). I'm sure my dry mounted prints on acid free boards will be around a century after I'm gone. Spray adhesive is surely out of the question.

Paul

 

[Jerry Basierbe]

[QUOTE I don't know any serious or well known photographers in the US or UK who sell dry mounted prints [/QUOTE]

Kenna, Horn, Sexton, Schwab, Bond...........


Jerry

 

[panastasia]

I use photo corners on a backing board and overmat with a window mat. I don't like to drymount my photos, it's too permanent.

What's wrong with permanent? You can always make more; the thing about photos is the fact that they can be mass produced. Preserving the negative makes more sense.

I don't make a living selling raw photos but I do sell them when someone wants to buy. Dry mounting is quick without the extra fuss, and I offer a guarantee because it's permanent. I'm not in the market to sell to museums - too finicky for me. But that's just me.

Paul