Mounting Options

I'm going to start framing some images into some standard sized (16x20...20x24)frames and mats. My question has to do with the manner in which I will mount my prints. Many years ago I would take them to a framer and have him dry mount the print to a backing board and then mat and frame. I know that a lot of folks prefer hinging the prints for the possibility of remounting them some time in the future. I also have tried PMA with a press for smaller (8x10) prints.
Is there a preferred method? Hinging seems the easier route. But I once purchased a print that had been hinged and it rippled...I had it dry mounted afterward.
Obviously, there are lots of opinions as to what is best, but can anyone share some "Real World" experiences?

Thanks.

If the work if valuable eg limited edition, then hinge is best as the print can always be remove without damage, museum grade framing uses a T hinge which is how I mount all my work along with conservation grade mats and mounting boards.

sgingold wrote:I'm going to start framing some images into some standard sized (16x20...20x24)frames and mats. My question has to do with the manner in which I will mount my prints. Many years ago I would take them to a framer and have him dry mount the print to a backing board and then mat and frame. I know that a lot of folks prefer hinging the prints for the possibility of remounting them some time in the future. I also have tried PMA with a press for smaller (8x10) prints.
Is there a preferred method? Hinging seems the easier route. But I once purchased a print that had been hinged and it rippled...I had it dry mounted afterward.
Obviously, there are lots of opinions as to what is best, but can anyone share some "Real World" experiences?

Thanks.

Steve,

I would recommend NOT hinging them. The chance of them wrinkling is almost guaranteed. If the paper is heavy enough I would use mounting corners if you want a reversible process. Otherwise dry mounting or spray mounting (like we do) with a vaccuum press is IMO the very best process. The spray mounting is somewhat reversible (although not guaranteed) if you use foam core and doesn't leave the horrible orange peel texture that heat mounting with tissue does.

I personally never hinge mount anything above 11x14 and prefer to mount everything bigger than that. If you don't want mounting then invisible photo corners are your next best option. If you have any questions please don't hesitate to e-mail me. This is what we do all day long everyday.

Les Voorhis wrote: . . . If you don't want mounting then invisible photo corners are your next best option. If you have any questions please don't hesitate to e-mail me. This is what we do all day long everyday.

Les, could you post a link to the "invisible photo corners" you use ?
Thanks

If your using quality papers over 300g you should not get any wrinkling I have been framing well over 11 x 14 sizes with no issues for years. Much of which is exhibition quality work. No work ever has been returned due to wrinkling or anything else actually.Many Artists and reputable galleries see hinging as the best practice for conservation. But sure if the work is of not a high enough value then the processes Les describes are very good. I also use the conservation clear corners on the bottom corners of larger pieces to distribute the weight a bit more.
How much of the mat that covers the edges of the paper is also important in keeping the work flat.

Thanks for the helpful comments. I don't run limited editions and print on Epson Premium Luster, so not a heavyweight.

signgrap wrote:

Les Voorhis wrote: . . . If you don't want mounting then invisible photo corners are your next best option. If you have any questions please don't hesitate to e-mail me. This is what we do all day long everyday.

Les, could you post a link to the "invisible photo corners" you use ?
Thanks

http://www.scrapbook-adhesives.com/photo-corners these are the ones we use. We actually get them from our framing supplier but they are made by the same company who makes these. The packaging is a little different but they are the same thing. They also have paper ones too, but we use the clear.

I worked in a commercial frame shop last year for roughly 5-6 months where we framed just about everything. I personally worked on very large pieces (bigger than movie poster sized) to pieces smaller than a post card.

1) Dry mounting is irreversible. It doesn't allow the print to expand/contract with heat and moisture. It also makes re-matting and framing a PITA. There is also the slight possibility of something going wrong during the process, but I wouldn't worry about that if you can reprint easily. We would not dry mount limited edition or original, one-of-a-kind prints. We used an industrial sized vacuum heat press and either transfer paper or heat sensitive adhesive foam core.
2) Very large prints will tend to ripple the most when hinging is used, less so with corners or mounting strips (applied to the sides of the print, not to the print itself).
3) Corners were our preferred method of archival mounting. However, even with a mat opening cut 1/2" smaller than the print itself, the standard corners still showed (ever so slightly). I would print with a thin border so that the corners can overlap the border and allow most of the print to show. With photo corners, adhesive never touches the print.
4) I use hinge mounting for my 8x12 prints. It's very easy, requires the least amount of precision, and makes it super easy to remove the print and mat it in something else.

Of all the methods, I think photo corners offer the best archival quality way to mount prints due to the fact that adhesive does not touch the print, and it can expand and contrast separate from the backing itself.