Methods for securing overmats

[Doremus Scudder]

This question has less to do with actual image making and more with presentation but I hope it will be of interest. I am in the process of mountin a rather larg e B&W photo exhibit. In the past I have always secured the overmat (window mat) to the mat the print is mounted on with archival linen tape hinges on the inside , i. e., between the two mats. A customer has recently expressed concerns that i f the overmat is damaged, removing the hinge from the bottom mat may damage it a nd subsequently reduce the value of the original photograph. My questions are: 1 . Is there a better method of securing the window to the bottom than I am curren tly using? and 2. Are there techniques for removing and replacing tape hinges th at I am not aware of? Thanx in advance for your responses ;^D>

[Dan Smith]

I own a gallery & framing shop in addition to the photography. High grade hinging tape is water/damp removable. This should ally the fears of the client. Using only 100% rag mats & the best tapes will make his worry a non issue. But, if you mount Ilfochromes, be sure to use 100% rag, NON buffered, as Ilfochrome is acidic to begin with and buffered boards will bleach it.

[Henry Stanley]

I totally agree with Dan, as usual, but I detected another point to bring out. Doremus states:

<<< if the overmat is damaged, removing the hinge from the bottom mat may damage it and subsequently reduce the value of the original photograph. >>>

The museum, archival method of mounting prints to backing today is not by hot press/drymount, but rather by hinging the print to the acid-free mount board (for a number of archival and dimensional stability reasons). So, even if mat and/or mounting board are damaged, the condition (and value)of the print is not impaired since all items are attached with the archival, moisture-loosened hinges Dan mentioned. -Regards.