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  1. #31
    jovo's Avatar
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    This is a good thread for me to read because it's just the decision I have to make for an April show. As I have been toning my work in thiocarbamide and selenium, I have been less pleased with the bright white Crescent select mats I've always used. It would be a great help to have a set of corners to test against the prints, but my wife was told, when she called Crescent, that they're not being made available any more (we cut our own mats, so blanks are required, and I do not wish to pay to have a framer to that work for me.) Does anyone know where a set of corners could be purchased?
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  2. #32
    Jon Shiu's Avatar
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    I find under gallery lighting, an off white yellowish mat can weaken the effect of a light sepia toned print, versus a bright white museum rag board, which is more neutral.

    The bright white museum board actually not very bright, it is kind of a soft white, so that may work for you. I would stay away from those "acid free" alpha-cellulose boards myself.

    Jon

    ps I have plenty of small pieces of Westminster Rag board if you want any
    Last edited by Jon Shiu; 01-22-2010 at 02:17 PM. Click to view previous post history.
    Mendocino Coast Black and White Photography: www.jonshiu.com

  3. #33
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    Everybody has to find their own style. Important is to stick to it, otherwise, it is difficult to put a portfolio together. The worst thing is to have gone through a variety of mounts and present them all to an audience or a gallery. That will not come across as an homogeneous body of work.
    Regards

    Ralph W. Lambrecht
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  4. #34
    DWThomas's Avatar
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    Quote Originally Posted by jovo View Post
    It would be a great help to have a set of corners to test against the prints, but my wife was told, when she called Crescent, that they're not being made available any more (we cut our own mats, so blanks are required, and I do not wish to pay to have a framer to that work for me.) Does anyone know where a set of corners could be purchased?
    A halfway solution would be to buy sheets of the most likely candidates and cut your own corners. You could end up with three 16x20s, plus an 11x14 and a corner. Whatever color(s) you gave up on could be used as backing board or whatever. (I've done this in the past) I'm wondering if any of the retail peddlers of mat board might offer a set of corners for a price, but I can't recall seeing any in recent times.

  5. #35
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    So, would anyone care to recommend as to the most "universal" color and style of matte material? I'm going to start throwing some of my prints in frames just to have them in frames. I don't know where they will be hung. They are exclusively untoned B&W on neutral RC paper.
    f/22 and be there.

  6. #36
    Ian Grant's Avatar
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    Quote Originally Posted by RalphLambrecht View Post
    Everybody has to find their own style. Important is to stick to it, otherwise, it is difficult to put a portfolio together. The worst thing is to have gone through a variety of mounts and present them all to an audience or a gallery. That will not come across as an homogeneous body of work.
    I went to the opening of an Exhibition like that earlier this week, although paintings not photographs the lack of continuity/consistency in presentation made the exhibition look awful. (As did the total random sequencing, ironically the catalogue was far better the graphic designer had sequenced it).

    When it comes to mount card bear in mind what it'll look like in 2, 5, 10 years time. Here in Turkey I have prints (other photographers) matted and framed 2-15 years ago, one stands out like a sore thumb because the brigh white mount card looks tired, the white's no longer pristine the core going brown.

    I use conservation/museum board because that doesn't age in this way, and luckily that's how all my most valuable prints are mounted as well.

    Ian

  7. #37
    Greg Davis's Avatar
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    Quote Originally Posted by jovo View Post
    This is a good thread for me to read because it's just the decision I have to make for an April show. As I have been toning my work in thiocarbamide and selenium, I have been less pleased with the bright white Crescent select mats I've always used. It would be a great help to have a set of corners to test against the prints, but my wife was told, when she called Crescent, that they're not being made available any more (we cut our own mats, so blanks are required, and I do not wish to pay to have a framer to that work for me.) Does anyone know where a set of corners could be purchased?
    You can get a 8x8 inch piece from framedestination.com for $3 per piece and cut the corner out yourself. They offer a 2x5 inch sample kit for less than $6. Frame wholesalers may give you a set for free, but they will most likely be discontinued colors.
    www.gregorytdavis.com

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  8. #38
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    Westminster Natural White from Light Impressions. I think like most people here that something just off of white is the best.

  9. #39
    Vlad Soare's Avatar
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    Everybody has to find their own style. Important is to stick to it, otherwise, it is difficult to put a portfolio together. The worst thing is to have gone through a variety of mounts and present them all to an audience or a gallery. That will not come across as an homogeneous body of work.
    I went to the opening of an Exhibition like that earlier this week, although paintings not photographs the lack of continuity/consistency in presentation made the exhibition look awful. (As did the total random sequencing, ironically the catalogue was far better the graphic designer had sequenced it).
    What if a framing style that works well with a picture doesn't work with another? Like, say, a cold black print and a reddish sepia one? The cold print might look well with a bright white window mat and a black frame, while the sepia print might look better with a warm white (or even cream) mat and a wooden frame.
    Do you choose a proper mat and frame for each picture, and then display them on different walls? Or do you try to find a "common denominator", I mean a mat and a frame that work reasonably well with both pictures even though they may not be the perfect choice for either of them?

    I'd like to choose one mat+frame combination and stick with it, but I find that difficult, because it seems to me that different images call for different mats and frames. I don't like sepia images with black borders (though I do like black borders on neutral images), and neither do I like cold toned images with warm colored borders (though I do like wood-style frames with warm toned images).
    On the other hand, if I choose a different framing style for each individual image, then they'll look ugly when hanged side by side on a wall - and I don't have enough walls to hang each picture separately.

    How do you guys cope with this problem?
    Last edited by Vlad Soare; 03-26-2010 at 07:38 AM. Click to view previous post history.

  10. #40
    fdi
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    Quote Originally Posted by VladSoare View Post
    What if a framing style that works well with a picture doesn't work with another? Like, say, a cold black print and a reddish sepia one? The cold print might look well with a bright white window mat and a black frame, while the sepia print might look better with a warm white (or even cream) mat and a wooden frame.....
    Bainbridge makes a slight off white mat archival 4-ply mat called “photo white” that is half way in between a bright white and a cream. Nielsen makes a black metal frame profile 117 that has a little more presence than the Nielsen profile 11, but is not too distracting and many people will mistake it for a small wood frame. Although that pairing will not make some images pop the way some custom configurations might, it will achieve the primary goal of gallery style framing which is set the image off without distracting from the image or from the theme of a collection of images.

    Cheers, Mark

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