Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 70,491   Posts: 1,542,969   Online: 884
      
Page 2 of 2 FirstFirst 12
Results 11 to 17 of 17
  1. #11
    Rafal Lukawiecki's Avatar
    Join Date
    Feb 2006
    Location
    Co. Wicklow, Ireland
    Shooter
    Multi Format
    Posts
    737
    Dear ROL, thank you for your compliments and the correction, I did not know that overmatting specifically referred to the widow overlapping a portion of the image—I thought the term described every sort of a window mat placed over the mounted picture. Let me correct the article after I had a chance to review the text you referenced. Many thanks for spotting that.

    PS. I've read your own in-depth article. Is it OK if I link to it, and if I mention your comment?
    Last edited by Rafal Lukawiecki; 10-06-2012 at 09:56 AM. Click to view previous post history.
    Rafal Lukawiecki
    See rafal.net | Read rafal.net/articles

  2. #12
    Rafal Lukawiecki's Avatar
    Join Date
    Feb 2006
    Location
    Co. Wicklow, Ireland
    Shooter
    Multi Format
    Posts
    737
    Quote Originally Posted by ROL View Post
    One niggling point as regards to your mounting, if you will allow. Overmatting mounted work usually refers to the window laying over some portion of the margins of the print, printed or not. It appears that you are floating a window over the mount board, with a "well" surrounding the mounted print[...]
    Dear ROL, I was looking up the term "overmat", and I think that, perhaps, I did not fully understand your point, in which case, my apologies. I realise that this term is something that may have changed meaning a good few times, and it may be regional, however AA's The Print (2000 printing, page 156) uses the name "overmat" to describe a bevelled-cut window that is placed over the print with a space around the edges of the print—the same approach, indeed, to the one you have described in your excellent article, using just slightly different terminology. 2nd edition of Way Beyond Monochrome (pages 70–71) goes further, to say that the only difference between an "overmat" for a dry-mounted vs corner-mounted print lies in the size of the opening which either does not or does overlap the edges of the print.

    On the other hand, the verb "to overmat" is not as popular, it seems. WBM, Kistler, and Hyder, all refer to the creation and assembly of the overmat simply as "matting", but Adams still calls it "overmatting". My Shorter Oxford does not list a verb "to overmat" at all, but even its many descriptions of "to mat" only vaguely refer to what we mean by this term... In all cases, I fully respect your use of the term, and I am thankful for your feedback. I will clarify the captions to the photos in my article.
    Rafal Lukawiecki
    See rafal.net | Read rafal.net/articles

  3. #13
    Thomas Bertilsson's Avatar
    Join Date
    Jan 2003
    Location
    Minnesota
    Shooter
    Multi Format
    Posts
    14,285
    Images
    301
    Rafal, read the article by Jon Goodman at this URL: http://www.photogravure.com/resources/texts.html

    Imagine someone spending years just to make a few good prints, or even with a developed technique took months just to make the plates for four prints - all for the beauty of the print. The finishing statement is just so profound:

    "The question is not about difficulty, but about beauty. For me ink and paper carry an aura and allure that transcend all of the difficulties and frustrations of the journey".

    We have it easy making silver gelatin prints these days, perhaps too easy?
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  4. #14
    Rafal Lukawiecki's Avatar
    Join Date
    Feb 2006
    Location
    Co. Wicklow, Ireland
    Shooter
    Multi Format
    Posts
    737
    Thomas, that you, very much, for sharing the article. It is inspiring to read about the sheer determination driven by a love of an artistic process. It does make up for the moments when I wonder why I keep on pursuing an increasingly old-fashioned, and a somewhat impractical process. However, I have to agree, that in the end it is all about that finished tangible item. It does have an aura, even if my route to it is so much easier than Jon Goodman's. I bet he's a perfectionist...
    Rafal Lukawiecki
    See rafal.net | Read rafal.net/articles

  5. #15

    Join Date
    Jun 2003
    Location
    local
    Shooter
    Multi Format
    Posts
    16,269
    Blog Entries
    4
    Images
    45
    thanks rafal

    great article !
    fun to read too

    looking forward to the next one -

    john
    silver magnets, trickle tanks sold
    artwork often times sold for charity
    PM me for details

  6. #16
    ROL
    ROL is offline
    ROL's Avatar
    Join Date
    Oct 2005
    Location
    California
    Shooter
    Multi Format
    Posts
    794
    Yes, AA uses the term "overmatting" to describe both types of window treatments, only in the sense that he doesn't specifically mention other print mounting techniques other than dry mounting (on the page you reference). I would only suggest that the term may have undergone some degree of evolution, and that using one or the other is only important insofar as those who are interested in your work are able to distinguish how your prints are actually presented.

    For me, overmatting speaks specifically to the window covering the actual printing paper, a method which normally accompanies hinge or other non permanent mounting schemes. The physical attribute of such is that the window overmat assists in holding (the edges of) the otherwise loose print to its back or mount board. Many photographers do this successfully on relatively small (<=20"x24") papers. By printing with an adequate margin, the print may be signed right on the (white) paper margin with room to be reasonably held down by the overmat.

    Dry mounting (as you know) is a mostly permanent mounting technique, decidedly not appreciated by all, which results in a smooth professional look, when done well. The print does not need to be held down and so may be separated entirely from its window as in a portfolio, without fear of catching a corner or side of a loosely attached print. The print may be "floated" (the other term) within and entirely separate from the its window.

    The aesthetic and artistic value of floating a window over a suitable dry mount, as opposed to overmatting, so defined, is that the artist decides the ultimate frame of the printed photograph, not a framer or curator, who must cover the margins of a print with a window to display it once the window (if it ever existed) becomes separated from it. There is an unfortunate trend among museum curators (who prefer "loose" prints) to overmat vintage photographs into the image area, which does not honor the vision of the artist. I see this all the time at the Getty (LA), where some way of presenting loose historic prints must be devised. But last year I also observed it on a dry mounted Adams print, cutting into the actual image area. I don't believe the artist would have been at all pleased with the treatment of his work of art.

    Of course you may link to my site.
    Last edited by ROL; 10-12-2012 at 08:29 PM. Click to view previous post history.

  7. #17
    Alan Klein's Avatar
    Join Date
    Feb 2011
    Location
    New Jersey .........formerly NYC.
    Shooter
    Multi Format
    Posts
    458
    ROL: What is your site?

Page 2 of 2 FirstFirst 12


 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin