Jan,Originally Posted by Jan Becket
Yes, I spray prior to mounting. That way if I screw up the spraying (very rare), I don't loose both the print and the mounting board. I don't use matte papers though. But I'm pretty sure a number of folks who post about spray coating on LuLu do use matte papers.
Bob
The logistics of moving around reasonable numbers of large framed prints for exhibition purposes is a long time major stumbling block for we view camera enthusiasts trying to put our work in front of the public. Of course then there is the complementary impediment of very expensive framing, beyond that of time, effort, scanning, processing, and printing of images themselves. I banged my head against those walls a decade ago and will not again. Instead can already see over the horizon to where people are going to pay just to view my large body of work on large portable electronic displays.
To me that seems like trying to listen to a symphony wearing earmuffs, with a lawn mower in the background. ... kinda defeats the whole purpose of large format.
Obviously, I admire fine prints. But it also helps that I set up my own frame shop.
So in a related question, what is the best non-breakable (or shatter resistant) material instead of a hunk of glass in the frame?
No expert, but do collect art and did lots of research on this when I started framing my photography with the intention to sell. No feedback yet, because...well no customers.
Regardless I use, UV Filter Acrylite...ordered from here. Hope that helps a bit.
I'm a bit skeptical just how much special UV-inhibiting acrylics actually help. Last time I tested them it was pretty negligible, and they do mess with the print color,
esp hues of blue. I haven't tested the optically coated variety, which is otherwise the cat's meow, but ridiculously expensive. My philosophy is to never display a
print in direct sunlight or under halogens to begin with, if you want it to last. Otherwise, ordinary 1/8" thick Plexiglas or a direct equivalent acrylic sheet like Acrylite FF will do.
So what is the conventional wisdom from galleries and museums?
I was taught as a student to buy Nielsen-type frames, to cut my own mats, and put 1/4 inch foamcore behind the window mat & backing mat sandwich, and call it good.
Depending on the actual thickness of the foamcore, I didn't necessarily need any of those metal spring things. I do recall that the going price for student work was equal to the retail cost of the materials.
That was the point I realized that I was not going to be able to make a go of it as an art photographer. I knew I didn't have the business sense or salesmanship to make it work.
From someone that is in the framing business and writes books, he never indicated that to me. The color casts (from what I remember) is when you have anti-reflective acrylic. The acrylite I have been using looks absolutely gorgeous. And yes if framing for yourself and you can control where it is hung then by all means avoid sunlight. Although for a client or customer you never know what they will do. This contact I have (who actually posts on apug I think too...in addition to the art forum I frequent) would know much much much more detailed information.
My question about a shatter resistant substitute is not for permanent installations, rather it would be for those times I need to ship framed photos across the country for a temporary exhibit, so potential negative long term effects of the acrylic or plexi is not an issue. Thanks...
Oh, my apologies. I was just trying to help for the interim. I might not be able to offer much advice.
I do know, when fine art is shipped, it is shipped rolled a lot of times...not an option with photography. Although if it is really nice, shipped flat. And often (even originals) are shipped in a flat box. In my experiences of collecting art here and there (talking 1k-5k pieces, not 100k) the art is put in a poly bag and taped to thick cardboard. Then sandwiched in between more cardboard. I have seem some artists ship it with plywood on each side of the cardboard sandwich for more reinforcement.
Although once again, I cannot read...you indicated shipping framed prints. Hmm, I still would use acrylic. Nothing fancy, the standard acrylite glazing. Although if you eventually are taking it out or not putting a dust cover on the back you could always just shipped em without any glazing and install it there...assuming you are attending the gallery. Perhaps this is an option? Just spit-balling, trying to help.
I bet those that do this often can offer the best advice. Good luck!
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