Framing for a gallery exhibit

Doug I have been asking the same questions of a few of my PJ friends. I have always used the products from Light Impressions and framed with simple matted archival products. Simple black metal frames with museum quality white mats . I compared these to whats used at the Leica Gallery in NYC and the one in Palm Beach at the Palm Beach Workshop gallery. This seems to be the standard...some differences.. Some prefer black wood frames and there are differences in glass or plastic coverings.

The Light Impressions catalog is a good reference with plenty of examples and how to information.

What Roger said.

I have been framing for display for several years, and after several different iterations I have found the best combination to be white mats and thin black aluminum frames.

Now, there is still a BUNCH of options here. Single versus Double mat. For myself, I prefer double-mats, but for a show, I generally keep it to a simple single mat. In single, do you want to us 4-ply or 8-ply? I like the look of single 8-ply, but it's a PITA to cut.

Now you have one more hurdle -- there are a a variety of "white" mat colors. Do you want bright white, brilliant white, very white, glacier white, white, warm white or antique white? You do want to use archival rag mat, but then there is textured surface and smooth surface. Museum board comes in fewer whites, and is smooth surfaced and harder than conventional rag mat -- it in "very" white what I finally settled on. However, some of the options with slightly textured surfaces do look more "artistic" to my eye.

Finally, I recommend you not skimp on mat borders and final frame sizes to save money -- it's a common newbie practice to try and get as many mats as possible out of a single sheet. The best museum board costs about $10 per 32x40 inch sheet if you buy in bulk. I would recommend a minimum of a 3" surround, and even 4 or 5 inches can look best depending on final print size.

Backing: Museum board is excellent for backing, but thin, so I use an archival foamcore, and I prefer the thicker 3/8ths sizes. It is also about $10 per sheet in bulk.

Mounting: I now almost exclusively hinge mount the prints with archival hinge tape, but for convenience I use either the adhesive-backed linen or paper hinge tape, not the fussy water-activated tapes. I do have a heat press for hot-mounting, and have to admit that the current Fiber-Based photo papers do look very nice hot-mounted. Here I use the low temp Bienfang archival tissue.

Oh, frames. "Black" aluminum frames are available in a variety of profiles -- shallow or wide round edge or flat edge -- and different depths, then glossy, satin or frost finishes. To me, it doesn't make much difference, but I've settled on the deeper (as it accommodates the thick foam-core backing better), shallow round edge satin black as my standard.

Jack

Quite helpful information. What type of "glass" have you settled on? I know a few years ago you had clear glass(cheap): non reflective plexiglass(?) reasonable or non reflective glass(very expensive). I had seen that their was a new product that was getting good reviews at an affordable price(not cheap but not like non reflective glass).

Roger

I have framed works a variety of ways including completely making wood frames myself, matting and framing as Jack describes above, and taking prints to a professional frame shop and have them do the work. I mostly do the latter now but of course it is the most expensive option.

If you plan to do the work yourself (for example, as Jack outlines above) then it is essential that you have the proper tools and a good work area. Cutting 32 x 40 in. boards requires some space and the proper cutters/straight edges etc.

If you plan to cut beveled window mats then I would suggest you get a cutter designed for this purpose - cutting them freehand is not easy without some experience.

In addition to standard frames and mats, photos can be presented mounted directly on substrates such as masonite, sintra, plexi, and aluminum (one of the best for this purpose). Depending on the series of prints and the exhibition location you could consider this method as well.

Cutting mats is difficult(impossible? ) without the right tools. In Atlanta I found a few places that would cut the mats to my dimensions ..not inexpensive but cheaper than having the entire framing done . Light Impressions will also custom cut any board to your dimensions.

If you can live with a standard outside dimension the precut board seems pretty reasonable. Its the mat that frames the image that can require a custom cut.

I double matte and make my own frames, but recently I have used the perma chrome stable prints from laslight on aluminum that have their own hanger very handy

glenerrolrd said:

Jack

Quite helpful information. What type of "glass" have you settled on? I know a few years ago you had clear glass(cheap): non reflective plexiglass(?) reasonable or non reflective glass(very expensive). I had seen that their was a new product that was getting good reviews at an affordable price(not cheap but not like non reflective glass).

Roger

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Hi Roger:

I now exclusively use regular clear acrylic, usually 1/8th or 3/32, but for whatever reason the 1/8 is far less static-prone --- and static is THE issue using plexi. Non-reflective glass or plexi really do impair the viewing of the prints. Plain does reflect more, but it's usually not as big a problem as it sounds, and you then get to see the print very clearly. Glass is a PITA to cut, heavier and more easily broken, but not as scratch prone as plexi --- but again, I have not had significant scratch problems with plexi. I buy my plexi pre-cut to frame size from TAP plastics -- a 20x24 sheet of 1/8 costs about $15.

Re tools, my mat cutter is a wall-mounted SpeedMat 4060 which locks down the mat and cuts all four sides without moving the mat. It also has built-in flip-stops for perfect double-mats, and has a built-in sliding cutter at the RH side for sizing the backing and mat materials. It is kind of expensive -- about $2500 -- but worth every penny IMO. I bought mine about 12 years ago and it paid for itself the first show of 24 prints. With it, I can start from scratch and size the materials, cut the mats and then mount and double-mat about 8-10 24" prints per hour. http://www.speed-mat.com/

Cheers,

If you dint want to cut mats a good source is framedestination.com

if you don't want to use glass print on canvas

visit my website for how I do it

Doing it by hand is perhaps fun but I just make to order from my local framer, he has a computer guided cutter and makes me beautiful and perfectly cut double 8 ply Mattes for little more than the cost of the sheets themselves. Having a good relationship with a pro framer is well worth the time for any Fine Art shooter. At a certain point the convenience and professionalism of using experts in the field really do impress themselves as a superior option to 'DIY' in my opinion.

Ben, that's great if you have it, but for whatever reason, here in the states frame shops charge like matting and mounting materials are all made of precious metals. Seriously, a 16x24 mount and double-mat alone can cost you well over $100, even up around $200, and that's not counting any frame!

There are some great hints here. Personally, if I were to do a solo show, NOTHING would get framed. I have never been a big fan of frames for photos. Instead, use thick (1/2" - 1") black gator foam, mount and trim flush with no border. It really is a striking look and there is nothing separating the viewer from the photo. If you are concerned about the photos being damaged, you can either laminate them or use a protective spray. If you want to take the floating look even farther, you can build a small 1" wood spacer on the back. Total cost is less than framing, it looks nicer, there is nothing to break and it weighs less.

If framing is required, there are a couple options here. Jack mentioned buying in bulk, and that is the way to go. If possible, standardize on a frame size, maybe two, and order all your frames in that size -- stick with bulk glass/plexi though. Call around to your local frame shops and see who has a CNC mat cutter who will cut you a deal on the mats. If you want the cheap, easy way, go with about a 3" - 4" mat border (you already decided on a universal frame size) and then you don't need to worry about horizontal or vertical pictures since everything is the same size. If you want to be a little fancier and like the look, you can go with a bottom weighted mat where the top and sides are (for example) 3" and the bottom is 4". Of course, then you no longer have truly universal mats.

Jack Flesher said:

Ben, that's great if you have it, but for whatever reason, here in the states frame shops charge like matting and mounting materials are all made of precious metals. Seriously, a 16x24 mount and double-mat alone can cost you well over $100, even up around $200, and that's not counting any frame!

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That's one whole heck of a lot of money Jack! I'm paying £26 for a dry mount on foamcore and double 8 ply (Neilsen Conservation) mount including backing card and shipping bag for an 18X12" print. Even doubling that doesn't take you to $100. My guy really knows his stuff as well.

I used to frame professionally myself. I ran a photo lab for a couple of years and we had a framing shop onsight that I was also the manager for. I learnt the trade, I could do it easily enough, it's just that it's more hassle and cost (in the UK) than it's worth for me to be honest.

Ben Rubinstein said:

I'm paying £26 for a dry mount on foamcore and double 8 ply (Neilsen Conservation) mount including backing card and shipping bag for an 18X12" print.

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At those prices, I understand! In my case though, I already own the equipment, and it's all set up and ready to go. Plus I enjoy it -- there is something especially rewarding about seeing one of my images matted and framed. I have my framing station set up in my garage, so do most of this after normal business hours. I'll head home, pour a drink, and go to work -- I can usually knock half a dozen out before dinner. FWIW, an 18x24 print, mounted, double-matted and framed out to 26x32 costs me about 15 minutes and $65 in framing materials when all said and done.

For mat cutting I have a Logan Framer's Edge cutter. Not as convenient as Jack's fancy-shmancy cutter but a much lower investment (I think I paid about $380 for it a few years ago). I habe little or no experience with other cutters but from what I understand this is one of the better ones?

Light Impressions catalog is a good reference.

While I am new to this forum, I have become somewhat experienced in building my frames (wood), cutting my own mats and glass and installing my prints. At first this was a tedious and almost scary process (fear of not being ready by a deadline due to my lack of experience), but I have finally begun to enjoy the process. I also use the Speedmat, and consider it invaluable. I buy glass, moulding, and mat board once a year (every 12-16 months) in wholesale quantities and then fill in with a few replenishment orders as needed. For me the framing process has now become enjoyable and an important part of the artistic process. It has taken me about two years to offset my equipment costs. I live in a rural area and the time cost of having my framing done by someone else (having to travel through rush hour traffic to Atlanta back and forth taking prints, signing prints or mats, and picking up finished framing) and worrying about whether someone else takes my deadline as serously I do has saved me time and stress in the long run. Once the framing became a part of my own creative process it has become almost as enjoyable as the photography itself. Fortunately, I already had a woodworking shop, and the framing process along with the photography has supplanted most of my interest in woodworking. This is not a small undertaking, but the potential for enhancing your photographs is quite substantial. As you all know the presentation itself has a crucial impact on the image. I will be glad to share my framing experiences, mistakes, and pleasures with anyone who wishes to do their own.

What about getting all those prints to and from the show and possibly shipped to a new location. Is there a place to buy a roll around box or do you need to get out a jig saw and plywood.

I try to consider the location of a show and not get into a situation where I have to ship a lot of items. I am able to drive to most of the shows I have entered and often I consider the location of the show in terms of whether I would like to use that location as an opportunity to take more photographs while there. My wife is a landscape painter and with very little help from me, she designed a "break down cart from PVC and carpet padding. The frames (whether photographs or paintings) are stored upright (similar to a lateral filing) with cardboard in between which are then gently strapped into place with bungi cord. When we arrive at the destination (in an van) the cart is put together and 15 to 25 frames at a time are rolled into the destination. The system needs some refinement, but it is a good start. The same process could be used with a small enclosed trailer if a longer trip is required.

USE OF METAL FRAMES: I don't want to open up a subject that should remain closed, but I am interested in the pros & cons of using metal frames. Since I have not used metal frames comments would be appreciated. I am aware of some people who think wood is classic. I use wood, but have an open mind to advantages of more modern approaches. I presume the use of metal frames requires ordering custom cut frames where standard frame sizes are not used. I can see many advantages to metal frames, but am curious to learn what the controlling factors have been in the decisions to use metal vs. wood (or wood look alikes).