Thank you, since I have not done this in 15 years, I needed a review. Excellent in every way. I need to do 15 prints next week and I am nervous, but I know I will do a better job myself and way cheaper.
great video. I snap, process and print. Its awesome to see what happens in the frame shop. It looks like something that would take some time to master. Great work! thanks for sharing the knowledge. I don't think I have the patience to do it but would love to try one day.
@ROLCFA Great video Sir (and thanks to your wife to) very clear and quite therapeutic for me to watch as it took me back to my college days. I have grown quite weary of staring at computer screens for the past 25 years
I have some pictures I want to print and frame in high quality and really liked your video tutorial. Wish you had some spoken word narration to supplement it too.
Agreed Mohammed. I should have narrated the piece, but at the time all I had was extremely limited video and editing facilities. I never realized it would become as popular as it has. It was intended to be strictly utilitarian in concert with the illustrated text article on my website - more of a bonus than a stand alone. Frankly, given what I've learned since posting it, there is much I would change, including narration. I could post a new version, but it's difficult for me to rationalize both the time needed and the prospect of a new video with basically identical information stealing hits from the original, starting all over again as it were.
Very useful video. Thanks for sharing. I have a question about frames - do you make your own too? I ask because I have long horizontal landscape photos I want to mount and frame. Would that look odd in a normal frame or should I custom make a frame to fit the photo?
@devonmale69 No, shame on you! This video is only intended to assist others in what can be an arcane process. I am not, nor have I ever claimed to be a "PRO", as you charge. All of your criticisms apply to digital photography, not classical silver technique. I am not a digital photographer. The video was shot entirely on a P&S, by my wife.Making the information available seemed a better alternative than waiting until my computing resources and digital image making rose to your strict standard.
No museum or gallery would accept a dry mounted print. Acid free back board and window with acid free corners if you want to do this professionally. If you disagree before you say so try ringing someone like the photographers gallery print archive and discuss with them.
Custom frame sizes are available from many (google-able) manufacturers. As indicated in my website article (rangeoflightphotography -> techniques -> print presentation), for which this video was made, I use Nielsen frames. The question of what aspect size to use with any photo has more to do with convention, aesthetics, and pragmatism. That said, I do have a personal aesthetic regarding the relative proportion of matting (window) to photograph.
It seems as though you may be confusing removable print mounting procedures (e.g., hinge or corners) with the subject of the video, DRY MOUNTING, in which the print is "permanently" affixed to the mount board with mounting tissue. I do use and recommend linen tape for hinge mounts of non-archival color media (e.g. all color and machine printed 'inkjet') - that is, everything except gelatin silver prints (GSP). That last statement may seem somewhat contrary, but any non metal/carbon print media such as that produced with sprayed ink or dyes cannot be considered archival compared to fixed metal images. It simply doesn't matter much how 'archival' the presentation purports to be if the media itself is not. Dry mounting fiber based silver prints remains the most practical method because of the need to professionally present clean, flat prints. In the case of hinge or corner mounts, 'images' should be printed with sufficient white border so that a beveled window mat may hold the print securely against its mount, as well as providing some degree of aesthetic reveal. This method is NOT the subject of this particular video or the accompanying article on my website: www.rangeoflightphotography.com/pages/Fine%20Art%20Print%20Presentation
Thanks. Release tissue is entirely unnecessary for monochrome photographic silver prints (as shown). Simply place the print between 2 clean 4-ply mat boards when pressing. These boards may be used indefinitely, if kept clean. See my complete article, Print Presentation, at on my website rangeoflightphotography(.com) Other kinds of non-photographic "flat art" may require release tissue, or other strategies.
I just curious about why to put scrap piece of mat board underneath while cutting window. Seems that it add thickness to cut through thus making it more difficult. I'm I missing something with the benefits?
The scrap board under the window board will allow a clean cut to made by the blade, rather than slicing through empty space and tearing at the bottom of the window cut. The blade depth need only be such that it cuts slightly into the bottom scratch in order to ensure a clean cut through the window. This is pretty much standard procedure for semi-professional mat cutters.
+Bill Chandler As a reminder, and as indicated in the video comments, this video was never intended to be stand alone. Its presence on YT is as video server for the linked "Print Presentation" article on Range of light Photography: www.rangeoflightphotography.com/pages/Fine%20Art%20Print%20Presentation
Ian, no need to get your panties in a twist. As clearly indicated in the video's comments it accompanies a more extensive, article in which your concerns are dealt with in the first paragraphs. Do your research. The video is intended to assist those who have already made their decision on a classic style of presentation. It is not an argument for a particular technique. Your assertion is factually incorrect. Museums have and do accept dry mounted work in collections all the time. Just not yours.
Ian, get off your high horse. All of the materials in use are acid free, buffered rag, for the monochrome prints shown. Corners are not "professional", though linen tape hinge-mounting is, if one prefers not to permanently affix the print to its mount. This is a personal choice, not the dictate of any museum, for which most people will never have to be concerned. Please read the entire WRITTEN article, for which this video was made, before putting your ignorance on display.
Thank you, since I have not done this in 15 years, I needed a review. Excellent in every way. I need to do 15 prints next week and I am nervous, but I know I will do a better job myself and way cheaper.
great video. I snap, process and print. Its awesome to see what happens in the frame shop. It looks like something that would take some time to master. Great work! thanks for sharing the knowledge. I don't think I have the patience to do it but would love to try one day.
Thanks for sharing this. Attention to tho finest details is what makes fine art. So much care and precision going into your work. Salute
Awesome!! the way suppose to be done. I do all my mounting with archival photo corners and hinged archival Museum 4 ply board.
@ROLCFA Great video Sir (and thanks to your wife to) very clear and quite therapeutic for me to watch as it took me back to my college days. I have grown quite weary of staring at computer screens for the past 25 years
I have some pictures I want to print and frame in high quality and really liked your video tutorial. Wish you had some spoken word narration to supplement it too.
Well done. Many thanks for taking the time to illustrate your technique. I note that you did not use release tissue. Is such tissue redundant?
Edwin
This is extremely well done and informational demonstration. Thank you!
love the video and love the sound all those machines make:D
Excellent! Thank you for sharing this.
This is a very fine presentation. Regards.
Agreed Mohammed. I should have narrated the piece, but at the time all I had was extremely limited video and editing facilities. I never realized it would become as popular as it has. It was intended to be strictly utilitarian in concert with the illustrated text article on my website - more of a bonus than a stand alone. Frankly, given what I've learned since posting it, there is much I would change, including narration. I could post a new version, but it's difficult for me to rationalize both the time needed and the prospect of a new video with basically identical information stealing hits from the original, starting all over again as it were.
Beautifully done and thank you for sharing
Very, very nice video.
Very useful video. Thanks for sharing.
I have a question about frames - do you make your own too? I ask because I have long horizontal landscape photos I want to mount and frame. Would that look odd in a normal frame or should I custom make a frame to fit the photo?
Thank you so much for the tutorial; very professional.
@devonmale69 No, shame on you! This video is only intended to assist others in what can be an arcane process. I am not, nor have I ever claimed to be a "PRO", as you charge. All of your criticisms apply to digital photography, not classical silver technique. I am not a digital photographer. The video was shot entirely on a P&S, by my wife.Making the information available seemed a better alternative than waiting until my computing resources and digital image making rose to your strict standard.
No museum or gallery would accept a dry mounted print. Acid free back board and window with acid free corners if you want to do this professionally. If you disagree before you say so try ringing someone like the photographers gallery print archive and discuss with them.
Custom frame sizes are available from many (google-able) manufacturers. As indicated in my website article (rangeoflightphotography -> techniques -> print presentation), for which this video was made, I use Nielsen frames. The question of what aspect size to use with any photo has more to do with convention, aesthetics, and pragmatism. That said, I do have a personal aesthetic regarding the relative proportion of matting (window) to photograph.
Great video, thank you!
very nice
great print
Very elegant.
A couple of things..? What benifit is there to put an additional board underneth? Do you use linen tape for hinge?
It seems as though you may be confusing removable print mounting procedures (e.g., hinge or corners) with the subject of the video, DRY MOUNTING, in which the print is "permanently" affixed to the mount board with mounting tissue. I do use and recommend linen tape for hinge mounts of non-archival color media (e.g. all color and machine printed 'inkjet') - that is, everything except gelatin silver prints (GSP). That last statement may seem somewhat contrary, but any non metal/carbon print media such as that produced with sprayed ink or dyes cannot be considered archival compared to fixed metal images. It simply doesn't matter much how 'archival' the presentation purports to be if the media itself is not. Dry mounting fiber based silver prints remains the most practical method because of the need to professionally present clean, flat prints.
In the case of hinge or corner mounts, 'images' should be printed with sufficient white border so that a beveled window mat may hold the print securely against its mount, as well as providing some degree of aesthetic reveal. This method is NOT the subject of this particular video or the accompanying article on my website:
www.rangeoflightphotography.com/pages/Fine%20Art%20Print%20Presentation
@AgustinDavidF
Thanks,. The video is intended to accompany my website's more intensive article on Print Presentation).
Thanks. Release tissue is entirely unnecessary for monochrome photographic silver prints (as shown). Simply place the print between 2 clean 4-ply mat boards when pressing. These boards may be used indefinitely, if kept clean. See my complete article, Print Presentation, at on my website rangeoflightphotography(.com)
Other kinds of non-photographic "flat art" may require release tissue, or other strategies.
I just curious about why to put scrap piece of mat board underneath while cutting window. Seems that it add thickness to cut through thus making it more difficult. I'm I missing something with the benefits?
The scrap board under the window board will allow a clean cut to made by the blade, rather than slicing through empty space and tearing at the bottom of the window cut. The blade depth need only be such that it cuts slightly into the bottom scratch in order to ensure a clean cut through the window. This is pretty much standard procedure for semi-professional mat cutters.
Thanks again!
Ben, if i could ask, what kind of matte board cutter are you using. thanks
+Bill Chandler
As a reminder, and as indicated in the video comments, this video was never intended to be stand alone. Its presence on YT is as video server for the linked "Print Presentation" article on Range of light Photography:
www.rangeoflightphotography.com/pages/Fine%20Art%20Print%20Presentation
Good to know.. Thanks.
thank you!!!!
don't pay any mind to the trolls they are only showing their iq with such comments
Ian, no need to get your panties in a twist. As clearly indicated in the video's comments it accompanies a more extensive, article in which your concerns are dealt with in the first paragraphs. Do your research. The video is intended to assist those who have already made their decision on a classic style of presentation. It is not an argument for a particular technique. Your assertion is factually incorrect. Museums have and do accept dry mounted work in collections all the time. Just not yours.
Ian, get off your high horse. All of the materials in use are acid free, buffered rag, for the monochrome prints shown. Corners are not "professional", though linen tape hinge-mounting is, if one prefers not to permanently affix the print to its mount. This is a personal choice, not the dictate of any museum, for which most people will never have to be concerned. Please read the entire WRITTEN article, for which this video was made, before putting your ignorance on display.