Range of Light Photography™ - 最新留言 - Print Presentation http://rangeoflightphotography.com Fine Art Gelatin Silver Prints by Ben Dewell en-US Thu, 28 Mar 2024 03:33:22 -0700 Thu, 28 Mar 2024 03:33:22 -0700 http://blogs.law.harvard.edu/tech/rss Zenphoto Comment RSS Generator Print Presentation 由 Marco Buonocore Hello Ben, I like the idea of keeping the mount and mat separate, and how "gravity will settle them together". That makes a lot of sense, and I will try and see if it works for me. I have seen some of my peers use double sided tape to fasten the mat to the mount, and thought that was a pretty terrible system. I agree that shipping work is a whole other kettle of fish. Thanks for writing back, and for all the information you've got on your website - it's very extensive. Marco Mon, 01 Feb 2016 16:30:40 -0800 Print Presentation 由 Ben Marco, The short answer is that I prefer the mount and widow mat to be separate, since both can be removed from a frame intact and without compromise. Window mats are thus easily replaced, if necessary. Rarely, if ever, is it a concern once in the frame. Gravity will settle them together at the bottom of the frame if they are cut to the same size. Spring clips, or bent staples/nails in wood frames, will prevent the mats from moving sideways as well as keep the assemblage flat against the frame’s glazing. In any case, a small difference (1/16” – ⅛”) in surround due to inexactness to matching mount and window just isn’t perceivable by the eye in any but the smallest of prints, unless your windows are cut so that relatively more space is available to accommodate a signature at the bottom of the mount. In that case, the whole thing might look out of round, to mix a metaphor. This is one reason why my wells are equidistant all the way around the print. I would only tape a hinge for mount and window if the finished piece was not intended for framing, as in a presentation piece or portfolio. Transport or shipping unframed artwork is another matter. Archival tissue placed between mounted print and window mat not only protects the face of the print, but also allows the sharp inner beveled edge of the window to ride over, rather than dig into, the edge of a print, if excessive shifting occurs during transport. Mon, 01 Feb 2016 10:21:52 -0800 Print Presentation 由 Marco Buonocore Hello, I really appreciate the videos you have posted on matting and mounting. They are a great resource. One simple question I have is this: what is your method for attaching the window mat to the backing board with the mounted image? If they are loose, how do you avoid the two pieces shifting out of place? Thanks! Marco Mon, 01 Feb 2016 10:16:51 -0800 Print Presentation 由 Ben Thanks Ronald, Suffice to say, that if you are uninterested in commercial sales or archival issues, you are a absolutely free to present your work in any way you like. Archival issues are controversial, but the basic tenant by which the artist must decide is whether or not the work will be permanently (or semi-) affixed to its support (mat board). Once one has made that decision, which is frequently at odds with museum guidelines, it is desirable to use methods most suited to the presentation of flat, two dimensional art. The traditional mounting tissues used correctly for that for this purpose will result in the most aesthetic presentation of a fine art photograph. But to be sure, photographic mounting tissue is nothing more than a structured, buffered adhesive delivery method. Tue, 05 Jun 2012 10:20:32 -0700 Print Presentation 由 Ronald de Jong Hello Ben, I 've enyoed watching your site and video's. Beautifull photo's of amazing landscapes. I was wondering why you don't use a self adhesive material as polystyrene are dibond to paste the pictures. I paste and frame my pictures myself , but i use different materials for example www.neschen.com Ronald de Jong Tue, 05 Jun 2012 09:46:26 -0700 Print Presentation 由 Mark Ok Ben, thanks. I would simply print blanks on my inkjet office printer but I don't know whether the inks will last the centuries I expect the GSP to last! So I ordered a large custom rubber stamp for around $30 and got permanent ink. I don't always get a nice clean even stamp though so I think I'll stamp good blanks on archival linen paper and drymount to the mount. Thanks so much for your help. Mark Fri, 06 Jan 2012 05:51:10 -0800 Print Presentation 由 Ben Hi Mark, I don't stamp with inked blanks at all, though that is a perfectly acceptable way of structuring identification on prints and or mounts. I print blank labels directly on paper, which are then mounted with tissue, just as is the print itself, on the back of the mount board of GSP's, or adhesive labels for direct application to non-archival materials (all non–permanently mounted color or resin prints). All labels are completed in pencil once on the finished work. It is traditional to sign and identify work in leaded pencil, which doesn't smear. The blank itself may have an unlikely potential to smudge (ink, toner, whatever), but the all important specific identifying information should not. Any penciled information specific to the provenance of any print can easily be reconstituted, even if the blank fails. I don't release unmounted GSP's (loose prints) except to art institutions, whereupon stamping may then be employed. Mounting label blanks is only an archival process variation that presently fits my materials/workflow. Ben Thu, 05 Jan 2012 10:43:54 -0800 Print Presentation 由 Mark Larsen Hi Ben, and thank you for posting so much information for us GSP people! I had a stamp made in the style of yours for the back of my mounts. I am now stamping mounts and, since I back mounts with archival foamcore and then seal the package edges with archival tape, I stamp again on the back of the foamcore. My question is why you stamp on archival linen paper instead of directly on the mount board, and whether you have considered clear laminated protection for the stamp inkand pen writing. I would go ahead and put a clear lamination over but I'm afraid the adhesive may discolor or othewise be un-archival. I'm just wondering about the stamp getting smudged so it's unreadable over time. Thanks for any insights! Mark Thu, 05 Jan 2012 10:39:36 -0800