Framing

I have enjoyed the framing process, although it is hard work to do it properly when only done ocassionally. Mistakes can be costly, erasing any savings from having the work done by a professional framing outlet.

Traditionally Framed Print

When using a lab to create a print, I often find it convenient to have them “salon mount” it on a white, 3/16" buffered acid-free foam board. The print will either be centered on the board that is sized the same as the final matted print, or for a “museum mount”, the print will be bottom-weighted (more space on the bottom of the board than the equal amounts on the other two sides). I have a dry-mount press and can do this work for “smaller”. jobs, but if I make a mistake, I pay. If the lab makes a mistake, they have to redo the work.

Once the print is mounted, a mat comes next. The mat board I like best is a museum-quality 6-ply, duo-tone (white/black) board. When the mat is bevel cut with the white side of the mat intended to be viewed, a narrow black line is created. The black line accents the print and nicely complements a black aluminum frame. The combination of a white mat board and black frame lends a consistency to multiple prints and works well with any decor.

I generally use Plexiglass® glazing instead of regular glass for its safety, light weight, and ease of shipping when necessary. However, Plexiglas scratches more easily than glass, so careful handling is required. When shipping is not required, I use museum-quality non-glare glass from a framing store.

Box Frame

A unique framing option is available in the market provides a less expensive, easy-to-clean, and non-glare alternative to traditional framing using glass and matting. The photographic print is mounted directly to a 1/4 medium-density fiber board with a beveled edge, sealed under heat and pressure with an 80% UV protective laminate, then placed onto a 1" black wood frame.

The protected print can be cleaned with a soft, damp cloth.