Printable View
While watching the George Tice video on the B&H You-Tube channel I noticed that at least one of his images had the window hinge on the side of the mat. I've always put the hinge at the top because that's the way I learned. So what's your preference - and why?
I don't hinge overcast any more.
I use the long side for the hinge. So side for verticals.
I've always hinged on the top, regardless of whether the print is landscape or portrait orientation.
Lately, I've had to remount a few damaged prints and was surprised that my "archival, removable" hinge tape left so much residue on the bottom mat board. I'm rethinking ways to attach the overmat to the bottom board...
Best,
Doremus
As far as I know, gravity still exists. Why would anyone want the inevitable tug more to one side than the other? Of course, that applies to work hung framed on walls. Maybe a lot of Tice's prints are intended for portfolio sales instead. I dunno. But it doesn't make much sense. Lots of artists have less than ideal presentation techniques, and just do things because someone else did it that way before, for better or worse. Rote tradition. Hinge tape belongs to Antiques Roadshow conversations. There are other options. But since he has done a lot of Pt/Pd printing too, on handcoated papers which are conventionally not drymounted, but themselves hinged and deckle-edge float mounted, maybe a general habit lies behind that. Someone who has seen in person a wider selection of his work would have to clarify the question. But just because someone has a standing reputation as a photographer doesn't necessarily make either them or the galleries they deal with fully competently picture framers. Gosh knows how many hokey matting and framing jobs I've seen with famous signatures on the work.
Given the expense these days of museum board, I overmat only when framing an image. I no longer overmat for displaying an unframed photo. I also mount on two-ply.
But, it goes a little further than economy. I don't like the idea of any kind of adhesive touching the mounted print.
Drew's comment on Gravity is true. And I always like to overmat to keep the print above from scrubbing on the one below. Alternatively, a good interleaf paper can be used as well to separate the prints.
Interaction between dry mounting tissue and mount board after decades prompted me to give up on floating dry mounted prints. Perhaps dry mounting smaller images on paper that extends under the overmat window would work. However, now I mount up to 12x16 prints on 13x19 digital paper, and tack the top edge of paper to the 16x20 overmat to maintain precise positioning. The tacked area is small to help reduce buckling, and so far none has happened. The print can be detached from the overmat with no damage to the image and immediately surrounding background, and little damage to the overmat. My dry mounting press was ready for retirement anyhow. Conservationists might not approve, but my customers don't complain.