It's likely to be a work in process forever, but I've tried an assortment of things and am currently moving toward standardizing on 16 x 20 inch metal frames of very modest cross-section (in matte black). I use two 4-ply mats, with the opening in the outer mat about an 1/8 inch larger at the bottom to allow a signature (modest and in pencil) on the reveal of the inner mat. (I also sign the back of the print with the date in case anyone cares years hence.) Again, lately, I hinge mount the print behind the window, and hinge the mat to another piece of mat board and or heavier backing board to make a sandwich to slide into the frame. My "plan" is to reuse the metal frames and store the matted prints in clear bags. At my current low level of productivity, that should suffice for a while.
At home, many of my prints are hanging in a hallway that provides a textbook example of what not to do for exhibition, so we'll ignore that! :D
A self-portrait with one of my 4x10 platinum prints -- Just a touch of the rebate/coating showing around the edge. The size of the frame is 12x16 inches. The mat looks to be 4-ply. I have always liked the silver frames for silver gelatin prints (on bright white rag board). My 16x20 silver gelatin prints seem to look best of 24x28 board.
An early print, matting and framing job for my platinum prints. I eventually found that my presentation of platinum prints and carbon prints to be 180 degrees different than my sliver gelatin. I now use primarily 8-ply, natural white, and a black wood frame.
The image was taken in the Trinity Alps (CA).
I'd forgotten I have a small set of frames similar to David Brown's. I take it that top left image isn't one of yours David :D
These thinner edged frames are great for smaller prints and sets of images.
In talking about framing something we are overlooking is consistency in the matting, and getting the balance right if showing images from a mixture of film formats.
I'd had a standard that I maintained for nearly 20 years, but then had a re-think and change about 5 or 6 years ago. This meant reprinting many images for a large exhibition rather than using existing prints from 2 other exhibition sets alongside fresh prints. Part of the decision was the demise of Agfa papers and switching to Polywarmtone and a desire for continuity & tonal coherence.
Now I've settled on standard print sizes from each of the formats I use (6x6, 6x9, 6x17, 5x4/10x8) that work together when in 20x16 frames, and corresponding sizes for my larger frames.
Frames are too expensive to chop & change so decisions have an effect on how you show work for some time.
Personally, I prefer square frames, so that when a number of different images are on the same wall, horizontal, square and vertically orientated images don't result in a variety of "footprints" on that wall.
These frames are store-bought - frame, glass, mat and backing all together for $40.00 each (the prints are 11x14).
Apologies for the blurry digipic with reflection. If it was better, you would be able to tell that the frames are black, and the mats are a slightly warm white.
Not sure about the square frames with a rectangular print Matt, it wouldn't work for me, I find the balance strange.
Luckily we all have our own tastes/opinions etc when it comes to matting & framing or it would get quite boring :D
When I frame my own work I use Lineco self adhesive linen hinging tape L533-1015 to form a v-hinge. It is pretty archival, just a notch below museum quality, but more importantly it is cheap quick and easy.
For the frame, I generally use black metal Nielsen Profile 117. It is a simple frame just under 1/2 inch wide and some people will mistake it for wood so it generally doesn’t offend wood or metal lovers. For the mat I love the depth of the http://www.framedestination.com/mat_...em/mt8arg0000/ and I will usually got with either a white or an off white mat board.
All four of that group are from Mr McLean. :)
Originally Posted by Ian Grant
Here are a couple pics of what I was talking about...
Originally Posted by fdi
after a lot of experimenting with different materials and looks, I have finally found a combination of presentation elements that work well for me, which I like to think of as "sympathetic" to the photograph. I mount my photographs on 2 ply mat board, and mat using 4 ply board of the same color as the mount board. I let 1/4" of the mount show at the top and sides, and 1/2" at the bottom where I title and sign the photograph. This float mounting provides a slight bit of reveal without the need for double matting. I give 3" borders for smaller prints, and 4" borders for larger ones. Square prints are matted and framed square; rectangular ones done rectangularly. I use a fairly bright white mat and mount board for neutral and cool toned pictures, and a slightly warmer color for sepia toned and lith prints. I construct my own frames from wood frame rails that are about 1 1/4" wide. Frames used on neutral/cool toned prints and white mats have a black stain, and those used with sepia toned or lith prints have a very dark brown finish. The frame colors are hard to tell apart unless held side by side, but I think they complement the picture and mat well.