Digital Prints

Mounting and Framing Prints
Mounting and framing go together, and they are a good way to protect and display your prints.
Mounting
While many photographers are successful with dry (hot) or cold-adhesive mounting of their
prints to backing boards, others follow traditional printmaking methods where prints are
adhered at the top only, letting the sides and bottom hang free and exposed. The idea is to
have the least amount of bonding with the print so that it is free to expand and contract
with environmental changes. This is called “float-mounting,” and it creates its own shadowbox
effect as the light falling on the print plays over the loose edges (see Figure 9.6).
In terms of mounting materials and techniques, acid-free corners or archival linen hinges
are often used. A so-called “T-hinge” requires that the print be overlaid with a mat to hide
it. A variation of the T-hinge is the V-hinge, which folds up under the print, making it
perfect for float mounting. Also, Japanese paper and a water-soluble adhesive such as wheat
starch are popular with museums; they adhere to a basic conservation requirement that
the mounting can be completely undone with no damage to the print.
The key point is to avoid non-archival material such as rubber cement or masking tape.
Use only acid-free mounting, matting, backing, and framing materials. If dry mounting
inkjet prints, make sure to use low heat and always test first; some inks are affected by heat
more than others. You can also dry mount canvas prints, but again, test first.
Chapter 9 ■ Finishing and Displaying Your Prints 293
Figure 9.6 The author’s photo-based
image Big Wave 1 printed by Duganne
Ateliers. It’s an IRIS print on fine-art
paper with four torn edges floatmounted
in an antique frame.