Every photographer/artist has their own way of presenting their work to the public. Some methods are considered conventional and are widely accepted as being the proper way to go about it. More cutting edge, or exploratory art is often presented in ways that are as offbeat or unorthodox as the art itself. Most photographic presentations fall into the former category. I’m no exception. I prefer to mount and frame my work in the traditional fashion, but I attempt to ‘freshen it up’ a bit with my choice of frame and matte proportion.
So here’s a concise explanation of what I’ve been doing lately when I frame a photograph for display. This and about nine other prints from the Oaxaca series will be on the walls at a restaurant this coming Jan. 10 in Sacramento. More on that at the end of the post.
I’ve started with a print on 16″x20″ size paper. The image size is 12″x18″. The paper is from Red River and is a bright white matte surface and at about 255 /gsm, is a little heavier than most giving it a nice fine art paper feel.
I’ve signed the reverse side of the print and also written the title and year in pencil. There are numerous ways to notate the print. Some photographers will have a stamp made (using archival ink) with places to write-in the details: name, date, type of print, edition etc. I’m keeping it simple. I’ll note also that signing the print itself ensures that the owner of the print can later re-mat or re-frame the print without losing this information. This can be lost if, as is often done, only the mat is signed.
Next, I use linen tape to hinge my mat to the foam core backing. I’ve had both of these pre-cut at the frame shop to my specs. This step makes it easy to slide the print in under the mat and align it correctly in the window. For this project I’m going to frame the rectangular print into a 24″x24″ frame. It’s different enough to be eye-catching, but still retains the comfortable feel of a traditional photographic presentation.
Here’s the assembled mat and foam core backing:
The print is positioned in the window:
I either tape the top of the print with archival linen tape or use clear photo corners and slip the corners of the print into them. With the tape, the print hangs nicely and will not buckle, providing it’s flat to begin with. If the print is later removed the tape has to come off. Quality tape will allow removal without tearing the print. Using photo corners means that the print can just be slipped out later-nothing ever attaches it to the backing board. Just be careful not to buckle the print when sliding the corners onto the print.
I’ve been using metal Nielsen frames and like them a lot. Here’s the print in the frame. I’ve opted to go without glass. I’ve signed the front mat in pencil.
And the finished piece ready to hang on the wall:
This print and a few more with be on display for two months in the Chanterelle restaurant at the Sterling Hotel in Sacramento. I was graciously invited by a photographer friend, Gino Creglia, to take part with him in Sacramento’s Second Saturday art festivities, which happens on the second Saturday of every month at galleries and other venues throughout the area. Thanks to Gino and the Sterling Hotel!
