Mounting prints - what mount board to use?

<p>I'm getting ready to mount a few prints for a local display. I have a new Logan mat cutter I'll be using to cut the mats, which will be 16x20 and 18x24 in size. However, I need some help deciding what type of mounting board to use and the thickness. Do most of you use foamcore or regular backing board? What thickness? Thanks so much.</p>

<p>Mike, my preference is for acid-free foam board, 5mm thick, adhesive coating on one side. It makes mounting fairly simple, and eliminates the need for spray mounting. The foam board I use is available at Hobby Lobby in 32X40 sheets. Unfortunately, I have no idea who the manufacturer is, and the Hobby Lobby folks don't know, either (or won't say).</p>

<p>Foam board should work for most framing applications unless you get stuck with a frame which has shallow print depth. For that, you might need to use regular mat board for backing.</p>

<p>I have had my prints mounted on acid-free foam core (as above), but by dry mounting in an hot press. Since I don't have an hot vacuum press, I have it done at a professional framing service nearby.</p>

<p>The mat board has a paper liner on each side, which negates shrinking or expanding with humidity. I have had no problem with melting or smearing, using prints made on an Epson printer with pigment inks.</p>

<p>Do you want your mounting to be permanent or reversible?<br>

For reversible, I use 8-ply acid-free mat board for the window mat. I hinge that to the 4-ply acid free backing board with archival linen hinges. I mount the photo with acid-free corners, so the photo is not adhered to the backing board or window mat.<br>

If you care, I print my photos so there is about 1 inch of white space around the image and sign the photo using a pencil in that white space. I also sign the window mat.<br>

For permanent, I suggest acid-free hot press adhesive on 4-ply acid free backing board.<br>

<Chas><br /><br /></p>

<p>I don't mount my prints on a board, but hang them using archival cloth tape from the matte. The weight keeps them flat and there's no chance of screwing them up with a too hot press or adhesive sticking too soon etc. Obviously there is cardboard behind the print and the matte. If you have genuine photographic paper made in a wet darkroom, then the same applies unless they are non-resin coated, in which case I would have then dry mounted on acid-free card. I find foam board a bit too thick for my frames.</p>

Foamcore is relatively fragile stuff compared

with 4 and 8 ply mounting board.

 

Foamcore is fine if the photos will be framed

immediately but I wouldn't use it to display

prints in bins for sale where handling by

customers will eventually dent and dog ear the

edges.

 

At local arts shows and galleries where mounted

prints are sold without framing most

photographers are using 4 and 8 ply board. It's

durable, even when displayed without plastic

sleeves. And it makes a great impression when

handled. With the contemporary trend toward

conservation mounting using archival tape rather

than dry heat press mounting, the prints

themselves may be more vulnerable.

 

I have a couple of 11x14 b&w RC silver gelatin

prints that i flush mounted on foamcore using

Scotch/3M spray adhesive more than 10 years ago.

The prints have never been framed or displayed,

just stored loosely in a Rubbermaid flat bin that

I've carried through several moves. The corners

are a bit worn just from bouncing around inside

the bin. But overall they've held up well enough

that I'd consider that type of mounting for

framed photos.

 

But for selling unframed prints I'd rather use

heavier mount boards.

 

Opinions differ about including window overmats

on mounted but unframed prints. I like them when

I see them in gallery and art show bins. Seems

like the photographer put in more care. But some

conservation experts prefer no contact with the

emulsion side or face of the print.

 

At the Amon Carter, which houses a huge

photography collection, I've seen a variety of

mounting styles. Some classic prints were

borderless, dry heat press mounted, with window

overmats cut large enough to avoid contact with

the print.

 

Other more recent prints are conservation mounted

using tape, with wide borders. To help minimize

buckling and waving the window mats are used to

compress the print borders.

 

Several years ago the Amon Carter hosted a

traveling exhibit of Edward Weston prints. The

oldest prints made and mounted by Edward were

showing some deterioration, which couldn't be

repaired. The more recent prints (made by his son

Brett) were on very heavy 8 ply boards and

beveled window overmats. The prints appeared to

be dry heat press mounted rather than

conservation mounted, but if I'm correctly

recalling an interview with Brett, that was his

preference, contemporary trends be damned.

<p>Thanks for all the great advice. This helps me a lot. I've watched some of the mounting videos on You Tube and they always make it look so easy (and fun)! I want to hinge mount my prints to the backing board. Right now, I'm leaning towards using mounting board instead of foam core if I can find a good place to buy it from, hopefully pre-cut.<br>

Currently I don't have a printer for larger prints so have been using Adorama for my photos. So far, I've been pleased with the results and their prices are very reasonable. However, I think when I have them do my next prints, I'm going to request a white border to give me room for the mat overlay without losing part of the image.</p>

<p>Depends on the size of the print. If the print is 16" x 12"/14" x 14" or below, I hinge the print to a window mount and hinge the window mount to a backboard. Both backboard and window mount made from standard, claimed to be archival, material</p>

<p>But if the print is larger than that I prefer to have mu lab mount the print on Foamex- an exceptionally flat and stiff version of foamcore. This is for my own use, for galleries and for the few prints I sell where I'm going to deliver myself. If the customer is remote we'll have an email discussion about whether they are prepared to pay the packing and shipping charges or just receive the print in a shipping tube and get it mounted locally. </p>