Digital BW, The Print

Hi,
for a forthcoming exhibition, I am exhibiting both HP Colourfast paper and Photorag 308.

I am getting the prints archivally mounted on foamcore backing and Spanish White Alphamat mattes - but forgot to ask for the two A3 Photorag prints to be hung, not mounted.

Is mounting adhesive is the last thing I want around Photorag?

Can anyone advise me as to whether I should phone the framers and ask the PhotoRag prints to be hung? Is it critical to longevity?

thanks,
Richard
--
http://smallfield.vze.com
http://photos.smallfield.vze.com

   On being called to the front, on a dangerous mission
    - to his commanding officer - 'Sir, do you want me 
   to fight for a bit first, or die straight away?'
   --Spike Milligan

I use linen tape as a T-hinge at the top of the mat.  It let's the print
move and the starch-based paste does not degrade.
But, I am finicky about this stuff.

Seth 

==-----Original Message-----
==From: Richard Smallfield [mailto:r.smallfield@...] 
==
==
==Hi,
==for a forthcoming exhibition, I am exhibiting both HP 
==Colourfast paper and Photorag 308.
==
==I am getting the prints archivally mounted on foamcore 
==backing and Spanish White Alphamat mattes - but forgot to ask 
==for the two A3 Photorag prints to be hung, not mounted.
==
==Is mounting adhesive is the last thing I want around Photorag?
==
==Can anyone advise me as to whether I should phone the framers 
==and ask the PhotoRag prints to be hung? Is it critical to longevity?

For the most part, all adhesive mounting and dry mounting are non
conservative mounting techniques. T-hinging with acid free tissue and
water soluble adhesive is about the only true conservative mounting
method. I dont go as far as Japanese rice paper and wheat starch, but
Linceo makes some stuff that is reasonably close and good enough if
you are not mounting an original Ansel Adams print. This technique is
also cheap and requires no special equipment. The print, mounting
board, and mat all expand an contract at different rates with
temperature/humidity changes which is why you just attach it in a
couple of points with the hinges. In more extreme cases where even two
mounting points might cause a little buckling you can use one point
top & center and corner mounts assuming your mat overlaps your print
enough to cover the corners and you are not doing a float mount. I
will often just mount the print directly to the mat and then I do not
have to tape the mount board to the mat. This also assumes you are not
float mounting.

*******************************
Mark Rogers
Frame Destination, Inc.
http://www.framedestination.com
*******************************


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Richard
Smallfield <r.smallfield@p...> wrote:
> Hi,
> for a forthcoming exhibition, I am exhibiting both HP Colourfast
paper and Photorag 308.
> 
> I am getting the prints archivally mounted on foamcore backing and
Spanish White Alphamat mattes - but forgot to ask for the two A3
Photorag prints to be hung, not mounted.
> 
> Is mounting adhesive is the last thing I want around Photorag?
> 
> Can anyone advise me as to whether I should phone the framers and
ask the PhotoRag prints to be hung? Is it critical to longevity?

Hi Mark,

I am thinking of framing some 32x40 prints on heavy weight Entrada (similar 
to Photorag) and am wondering about potential buckling with the technique I 
am considering.  The image would have a 1-2 inch border and the edges of 
the border would be overlapped by a frame spacer, which would provide a 
space between the print and the glass (no mat).  I plan to tack the print in 
one or two places at top to a backing material (perhaps thin gatorfoam).  The 
print would be snuggly held between the spacer and the backing on all sides, 
so I worry a bit about buckling over time.  I like this method because of it's 
archivalness.  Any thoughts?  Many thanks,

Tom Andrews
http://www.wildlandart.com

> 
> For the most part, all adhesive mounting and dry mounting are non
> conservative mounting techniques. T-hinging with acid free tissue and
> water soluble adhesive is about the only true conservative mounting
> method. I dont go as far as Japanese rice paper and wheat starch, but
> Linceo makes some stuff that is reasonably close and good enough if
> you are not mounting an original Ansel Adams print. This technique is
> also cheap and requires no special equipment. The print, mounting
> board, and mat all expand an contract at different rates with
> temperature/humidity changes which is why you just attach it in a
> couple of points with the hinges. In more extreme cases where even two
> mounting points might cause a little buckling you can use one point
> top & center and corner mounts assuming your mat overlaps your print
> enough to cover the corners and you are not doing a float mount. I
> will often just mount the print directly to the mat and then I do not
> have to tape the mount board to the mat. This also assumes you are not
> float mounting.
> 
> *******************************
> Mark Rogers
> Frame Destination, Inc.
> http://www.framedestination.com
> *******************************

Archival quality mats are another important device in archival
framing. Not just to keep the print off the glass, but to buffer it
from the wood moulding which is not acid free. It is hard to say if it
will buckle over time. A mat helps to keep prints in place but will
not provide so much pressure that it cant move a little. In your case,
I guess it would depend on just how snug you mount everything. Too
tight, and it will probably buckle. Too loose and it may pull the
hinge mounts loose and sag.

Mark

*******************************
Mark Rogers
Frame Destination, Inc.
http://www.framedestination.com
*******************************


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tom Andrews"
<tandrews@b...> wrote:
> 
> Hi Mark,
> 
> I am thinking of framing some 32x40 prints on heavy weight Entrada
(similar 
> to Photorag) and am wondering about potential buckling with the
technique I 
> am considering.  The image would have a 1-2 inch border and the
edges of 
> the border would be overlapped by a frame spacer, which would provide a 
> space between the print and the glass (no mat).  I plan to tack the
print in 
> one or two places at top to a backing material (perhaps thin
gatorfoam).  The 
> print would be snuggly held between the spacer and the backing on
all sides, 
> so I worry a bit about buckling over time.  I like this method
because of it's 

> archivalness.  Any thoughts?  Many thanks,
> 
> Tom Andrews
> http://www.wildlandart.com