Mounting large photographs-methods and techniques

[Jglaser757]

There have been some great discussions on framing, cutting on this board so I wanted to start a new one on methods for mounting.

I have done some research on mounting artwork and which method is best for photographs. It seems. To me that using some type of hinge mount is advocated by museums, etc. I think it's the easiest and allows the image to move freely avoiding any issues of buckling. I did have a photograph dry mounted but was stored in my garage for a while. Big mistake cause the images has a terrible bulge in it which I think was caused by humidity.
Also , a hinge would allow the artwork to be removed and reframed.

Is my logic core  or is there a better solution when mounting large photographs?

Jon

[Jager]

I suspect you're right, that museums prefer hinge mounting.  Less because of environmental damage a la your garage experience (a legitimate museum isn't likely to let that happen) but because it's more flexible for them (re-mounting if desired) and diminishes one factor from the archival equation.

From a straight archival standpoint, it shouldn't matter if mounting materials are properly chosen and applied.

I personally am intrigued by the merits of dry mounting and intend to explore that process.

[mbaginy]

Michael presented his framing (and mounting) technique in a tutorial.  Jeff assisted.  If I recall correctly, the name of the tutorial was "Camera to Print and Screen".  An interesting tutorial.

[davidh202]

 I did have a photograph dry mounted but was stored in my garage for a while. Big mistake cause the images has a terrible bulge in it which I think was caused by humidity.
 

Most likely not because it was improperly done! A properly drymounted  photo should be permanent and never lift or buckle or bulge unless exposed to extreme elements.

I gave up worrying about "archival" long ago. Drymounting a print properly just improves the appearance of a large print dramatically by keeping it completely flat with no waves!
Drymounting was good enough for Ansel....  

[BobShaw]

Museums hinge mount works because the value of a work is related to the ability to see the back of it. Nicholas Cage was in a movie about it.
They also have lots of staff to remount things every couple of years.

Any image that is to be mounted for keeps is stuck down with sticky board.

[Jglaser757]

Thanks for the replies!!!!, I am still looking for the easiest method for mounting without having to invest in expensive equipment for dry mounting of 40x60.

I having researched this some more, it appears that larger prints(40x60) will buckle if hinge mounted. Then I thought what about putting a large piece of UVAcrylic to keep it flat. That wont work! More research revealed that any type of glass should not be in direct contact
with a photograph.

Any body use Krylon "workable fixatif'? or any other type of spray adhesive? I read that it can be messy though.

Thanks

Jon

[felix5616]

buy a used coda mount. their only potential drawback is weight.

[davidh202]

"workable fixative "is a print surface treatment not a mounting adhesive.

 spray adhesives do not go on evenly and are more than messy. If you are only doing large prints infrequently  find a good custom frame shop with a vacuume  press that you can make friends with  and pay to have them dry mounted. I offer regular customers very good discounts to mount and frame their work if they are "frequent flyers". It will actually be cheaper in the long run to outsource certain work than investing in the necessary equipment to do it yourself unless you are doing many on a consistent basis!
 

[Jglaser757]

"workable fixative "is a print surface treatment not a mounting adhesive.

 spray adhesives do not go on evenly and are more than messy. If you are only doing large prints infrequently  find a good custom frame shop with a vacuume  press that you can make friends with  and pay to have them dry mounted. I offer regular customers very good discounts to mount and frame their work if they are "frequent flyers". It will actually be cheaper in the long run to outsource certain work than investing in the necessary equipment to do it yourself unless you are doing many on a consistent basis!
 

I thought about that option of getting a local framer(I know 2) to dry mount my prints, but I am hesitant.

I will be using Silver Rag which is pretty heavy paper to begin with and was hoping that a hinge mount would work. They were going to be 40x60 with no mat and no glass in a 2 1/2 inch wood frame but there seem to be a few complications. Then I though about DGT tape in addition to the hinge mount. Im not sure!

[Chris_Brown]

I am still looking for the easiest method for mounting without having to invest in expensive equipment for dry mounting of 40x60.

I have printed and mounted a several dozen 40x60 prints. For that size I prefer the CODA Mural Mounts, with a UV-inhibiting laminate on the print. This mounting/laminating is perfect when the artwork is displayed in a public area such as waiting rooms, public hallways and conference rooms. They are light weight, mount easily on a wall, and can be easily cleaned.

The artwork that is displayed in this manner is now 10 years old and shows no sign of degradation due to adhesives or environment.

I realize this aesthetic may not suit you, but at that size, I found the increase in size & weight due to a matte board, frame & plexiglass made it less desirable and much more costly.

I have copied and reproduced several large paintings (48"x72") which a client wanted matted, mounted & framed. At this size, the 48" dimension was the maximum width foam board is available at (without having to place a very expensive custom order). The result of these framed reproductions was very nice, and suited the boardroom in which they were hung. The framing job was 100% custom, though. None of the materials were "off the shelf".

[geezerhood]

Back to your original comment about hinged mounting.

I owned a gallery for a while and from what I saw eventually ALL the hinge mounted photographs developed large wrinkles or waves on them inside the framing, even the smaller ones such as 11x14. These were mostly printed on glossy Cibachrome / Ilfochrome papers. They tended to get worse over time.  Some became hideous and had to be remounted, others were acceptable but still ugly.

Those that were dry mounted still look superb 20+ years later.  The dry mounted prints will form to the surface textures of the mounting board. It is more visible on glossy papers, so be prepared for that if it matters to you. Use glass smooth backing and bubble / glob free mounting adhesives / films if you don't want that to happen.

[picman]

We've used a 36" Daige Rollataq for years. http://daige.com/ez-glide-liquid-laminators-from-daige-products-2/

When doing the bigger stuff, I apply the adhesive - put the print adhesive side up on the table - place the board lightly on top, just enough to hold the print - flip everything over and roll out the bubbles.

[davidh202]

    Yes, As I said earlier dry mounting is still the nicest way to present most photos unless it has to be truly "archival".
The problem with Cibachromes- Ilfobromes, is they could not take any heat or they would exhibit orangepeel on the surface from the release materials that could never be absolutely texture free, an would ruin the gloss surface as would uneven glues underneath. Static mounting to acrylic was a good alternative that was ok for smaller works.
    The basic problem with hinging, is that if not done properly it will constrain expansion and contraction of the print or art between the hinges causing the buckle, as does overmatting and framing the edges of any art tightly. The art must be allowed to freely expand and contract.
    The very worst culprits are the spring clips that are used for holding the materials together in the backs of metal frames, as they bind the edge tightly at the point of where the clips are, and again prevent normal expansion and contraction at the edges of the art-print under the frame. I always bend these back to loosen the factory curl and relieve the pressure under them at the expense of leaving the  art -prints -mats, and glass fairly loose within the frame.