Hanging 44" prints

[ROL]

While I agree in principal with everything in this video, I think, based on my experience, that it very seriously under represents the difficulties of dry mounting very large prints in a small press. I have this same size press and I will not do anything larger than 20x24. Its sooo easy to make a small mistake and ruin a very expensive and difficult to make large print (especially in silver) that I prefer to have a professional framer with a large press do it.

FTR, the accompanying video illustrates the mounting of an 11x14. That is all most people ever see of a substantial educational effort. The article, OTOH, has but a couple of small paragraphs devoted to tips on large print mounting. No statement was made regarding the ease of mounting prints larger than 20x24, and your statement is a mischaracterization of the actual information. The section was kept deliberately short for the reason of not being perceived to be a tutorial on large dry mounts. I'm sorry you found it incomplete or not to your standard. You can always ask for your money back (in triplicate carbon).

Mounting and presentation appear to be much more of a skillful discipline than many are capable of. My objective was to take the mystery out of the dry mounting process. I charge substantially more for my mural fiber prints than standard sheet sizes, precisely because of the progressive (exponential?) difficulties in completing a fine art piece. That begins at enlarging and processing, and ends with dry mounting and windowing (i.e., presentation). It is, of course, more difficult to handle large pieces, particularly in a smaller press, but it can be done, if one is a careful worker. Regrettably, there may be "breakage" in the production of large prints, whether in the processing or the mounting stage, where on occasion, not every 30x40 first mount ends up being a keeper. A key point here is in getting the temperature right (not to be confused with correct) per mounting tissue. The option is to spend several thousand dollars for a press and create a space large enough to work in, or to have it "professionally" presented. My entire point in offering any of my techniques articles is to empower the individual, either whose resources may be as meager as mine or are becoming nonexistent with every passing day as technology obviates them, or who simply wish to offer work completely their own – not to hold their hand. I don't get paid enough for that .

[Tin Can]

I watched the video. While I learned dry mount 15 years ago, I have not done it since. My many images from that time have survived well dry mounted, stored in layers of 'archival' tissue and boxes, under my bed.

I really appreciated your video as it showed me the technique I once learned and forgot.

Now, I am equipped with both knowledge and private equipment.

Thank you!

I haven't re-entered this discussion because it seemed to me you are truly looking for something no one here is willing to countenance. If you change your mind, you can present prints yourself in classical fashion, without sending them out. That is the sole purpose of this article and video, Print Presentation.

[Greg Blank]

How much do you want for the print? I have pretty certain demographics that say cheap framing equals people that won't buy the image. If you are going to glaze a larger image you need to use plexi, I have a 30x40 frame with image that is under glass that would be the largest I would use glass for. Plexi ain't cheap. You should spend 1/3 to half what the print is worth to you, that way if it sells or not the BS walks. I should add that any gallery wanting to display your image should eat or split the cost of presenting it- preferably eat it,.. towards the end price.

[Kirk Gittings]

FTR, the accompanying video illustrates the mounting of an 11x14. That is all most people ever see of a substantial educational effort. The article, OTOH, has but a couple of small paragraphs devoted to tips on large print mounting. No statement was made regarding the ease of mounting prints larger than 20x24, and your statement is a mischaracterization of the actual information. The section was kept deliberately short for the reason of not being perceived to be a tutorial on large dry mounts. I'm sorry you found it incomplete or not to your standard. You can always ask for your money back (in triplicate carbon).

Mounting and presentation appear to be much more of a skillful discipline than many are capable of. My objective was to take the mystery out of the dry mounting process. I charge substantially more for my mural fiber prints than standard sheet sizes, precisely because of the progressive (exponential?) difficulties in completing a fine art piece. That begins at enlarging and processing, and ends with dry mounting and windowing (i.e., presentation). It is, of course, more difficult to handle large pieces, particularly in a smaller press, but it can be done, if one is a careful worker. Regrettably, there may be "breakage" in the production of large prints, whether in the processing or the mounting stage, where on occasion, not every 30x40 first mount ends up being a keeper. A key point here is in getting the temperature right (not to be confused with correct) per mounting tissue. The option is to spend several thousand dollars for a press and create a space large enough to work in, or to have it "professionally" presented. My entire point in offering any of my techniques articles is to empower the individual, either whose resources may be as meager as mine or are becoming nonexistent with every passing day as technology obviates them, or who simply wish to offer work completely their own – not to hold their hand. I don't get paid enough for that .

It is a truly excellent demo with that one exception. But make that three paragraphs and a picture. IMHO by not mentioning the info you provided in your post above you may be misleading people into thinking it is just more effort but no more difficulty to do large prints. Seems like an easy addition.

FWIW I had absolutely no idea that was your site as you are essentially anonymous on this forum. I always thought ROL was your initials.

[Stephen Willard]

Printing and framing large prints is exponentially more difficult. To me 20x24 prints are small prints and easy to do, but 20x50 or 30x40 prints is whole different ball of wax. I make color prints using Fuji Crystal archive papers. I cut them from a 40"x120' roll of paper in total darkness. It took me while just to figure that out. Handling large prints without creasing them is an art in itself. Handling the prints in the darkroom is even more complicated. And the list goes on...

It took years to figure out to do large prints from cutting, developing, handling, mounting, and finally assembling the frame. I gave up on dry mounting, and I now use a spray adhesive. I had to make special tools to handle the prints so that I could apply the adhesive and then precisely mount it without creasing the paper, getting bubbles, or dimples. It takes patience, practice, and determination to solve all the problems and become proficient at making large framed prints. I then had to figure out to crate this big stuff with all that glass so that it did not weigh a ton or cost a fortune, and yet be shipped anywhere without breaking the glass or frame.

God, I am so glade I know what I know now because I could not imagine having to start from scratch again. I do not mean to discourage anyone, but be forewarned its like climbing K2, straight up hill.

[Drew Wiley]

Be darn careful with spray adhesives, Stephen. Go to one of the pro framers forums and you can see there's a FATALITY reputation that goes along with long-term exposure to the kinds of solvents in those sprays. You need a true fume extraction spray booth with an explosion-proof exhuast fan, and a serious respirator, or better, supplied-air headwear. Not fooling whatsoever. They've earned a reputation for being really nasty on health.

[Stephen Willard]

Be darn careful with spray adhesives, Stephen. Go to one of the pro framers forums and you can see there's a FATALITY reputation that goes along with long-term exposure to the kinds of solvents in those sprays. You need a true fume extraction spray booth with an explosion-proof exhuast fan, and a serious respirator, or better, supplied-air headwear. Not fooling whatsoever. They've earned a reputation for being really nasty on health.

Drew, I am considering building a two story out building adjacent to my house. The lower have will be a framing shop and the upper half is for general storage. I am also considering outfitting it with some high end framing equipment. I would love your thoughts on what equipment and methods you would use to mount big color prints?

The photographic paper I use is Fuji Crystal Archive.

[StoneNYC]

Drew, I am considering building a two story out building adjacent to my house. The lower have will be a framing shop and the upper half is for general storage. I am also considering outfitting it with some high end framing equipment. I would love your thoughts on what equipment and methods you would use to mount big color prints?

The photographic paper I use is Fuji Crystal Archive.

Better have a big elevator and extra support if all your storage and weight is on top...

I would be interested in understanding this as well (for the very distant future).

[Drew Wiley]

Gosh, Willard, that whole storage thing is driving me nuts right now. I've got to play musical chairs with some very heavy gear, trying to fit everything in. Bat timing
for me, since I'm desperate to get some indoor remodeling to the house done before I retire too. I figure I'll have to put up an extra storage shed soon, and in the
long run turn the studio/gallery concept into dual use for clean framing application, other than drymounting, but including things like matcutting, cold mounting, and
final assembly. Everything like the manufacture of frames and cutting glazing will, of course, continue in my shop per se. I simply offer this as a hint how spaces need to be realistically divided between rougher and cleaner aspects. I hope to install a big Esterly Speedmat in the coming months, once I've gotten another big Durst enlarger squeezed into the next room past that intended space. I thinking proactively, in terms of how potentially arthritic fingers are going to behave in the long haul - so a Speedmat will be a wise investment (a lot easier to use). Cold mounting is tricky. The hardest part is simply getting the adhesive foil perfectly flat on the board in the first place. I might simply "cheat" on this aspect and buy precoated smooth board from Oregon Laminations. It saves a lot of headache. I happen to use a roller press from Daige, which is relatively affordable, though I've been offered a much more expensive one from a retired lab. But it works fine once its properly adjusted. You need a true clean room for this, and a lot of practice, and obviously storage nooks for the board itself. I have a wholesale account
with a framing supplier, but only use this for sticks of Nielsen metal moulding. I prefer to use a specific local hardwood moulder for wood mouldings, or to shape it
myself. Hardwood has to be cured exactly right for framing use (and rarely is). But I have certain advantages as a machinery dealer, so am slowly investing in the
basic tools I'll need during retirement (those most of this I've had all along). But by basics, I mean the very best. Again, gotta think not only of proficiency and
shop cleanliness, but personal ergonomics during old age. Gotta go for the moment - a long, long day purchasing more equipment to sell. Hundreds of lines yet to
go today. But I'll chime in from time to time, to clear my mind briefly from the paperwork fog.

[Stephen Willard]

[QUOTE=Drew Wiley;1119799]Gosh, Willard, that whole storage thing is driving me nuts right now./QUOTE]

Here is an attic lift I intend to make and install in my two story out building for storing all of my heavy stuff upstairs.

https://www.youtube.com/watch?v=rEhGPexInIM

I will also use a pull down ladder to get myself upstairs. The nice thing about both of these solutions is that they do not use up any floor space in my framing shop.