Archival Photo Mounting Part 1 | Photo Corners using a Hinged Double Mat

[@chelin7023]

Great presentation! Learning how to present art work is so vital to enhance the art itself. Thank you!

[@MrNegative]

I agree completely. Learning about how to mount and frame my work has been a major focus for me over the past several years and I think it has made me a much better photographer. There’s nothing like seeing a finished piece on the wall.

[@drb9705]

Very helpful information, thanks! And it’s great to see you back!

[@MrNegative]

Haha yeah I was slacking for a bit. Fell way behind. Hoping to be caught up soon :)

[@kevinconnor1731]

I have a question When you stick your mats together you tape the bottom mat away from the window, wouldn’t it be better to tape the top mat as close to the window as possible so that the two mats are less likely to open and show a gap?

[@MrNegative]

I’m not sure I’m picturing what you’re asking but it’s not really the tape that keeps the mats in place. They’re really going to help you hold it together while you set up the package but once it’s in the frame it’s the rabbet and the framing points that will hold it in place. The points will apply pressure from the back and the rabbet will only be slightly larger than the mats to allow for some expansion/contraction. I hope this helps. If not let me know because I think I might not be following your question

[@ohmantube]

Is the mounting board the same material as the mat? Or is it a foam board? Or something else entirely? Just starting to learn to frame. Thanks.

[@MrNegative]

Great question. In this case they’re the same material (rag board). However the mounting board is 4 ply and the mat board is 8 ply. This means the mat is double thickness which is strictly an aesthetic choice. For very large prints you may need to support the backer board with additional acid free material

[@cfalzerano1]

I would appreciate your advice. I am mounting a valuable vintage photograph that unfortunately was exposed to moisture in the past and is now wavy. I thought of mounting it directly behind the UV glass with no mat, allowing the glass to flatten the photo but was told this process may eventually cause the photo to stick to the glass due to condensation. All the KZbin DIY videos regarding "flattening" the photo seem too aggressive. Please advise. Thanks

[@MrNegative]

Do you by chance know what kind of paper it is?

[@MrNegative]

Ah, okay so likely a fiber based paper. I definitely agree mounting it to glass is a bad idea. I’d recommend you find somebody with a mechanical dry mount press. Flattening fiber based prints is fairly simple with heat and pressure. I’d recommend taking it to somebody that has experience doing this, given the fact this piece is not replaceable. I wouldn’t take the risk of doing it yourself if you don’t have a dry mount press. If you can’t find someone to flatten it for you, I’ve seen people use an iron. Assuming it’s a small print, you may be able to try that with some kraft paper to absorb moisture and protect the print surface. I still don’t recommend it, and haven’t tried it personally, but know others have had success with the method.

[@cfalzerano1]

@@MrNegative Thanks for the advice. I've decided to live with it as it is and use your archival mounting process. Even "somebody with experience" could make a mistake and as you say "the piece is not replaceable" (an autographed photo of a 1930's jazz star). Thanks again.

[@MrNegative]

I think that’s a great decision. Working with something that old would be very tricky and quite frankly terrifying haha.

[@cfalzerano1]

@@MrNegative 👍❤