Brainstorming / Wet Plate Photograph

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Jesse

Jesse

CGF, Certified Grumble Framer
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Dec 30, 2011
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The DC Metro Area.
Recently, I acquired wet plate photograph from a friend. I would love your thoughts on this project. I'll take a snap shot when I get a chance. It's a horizontal portrait of 3 skulls similar to this one:
http://barrys.carbonmade.com/projects/2685090#5

I know historically that wet plates were presented in paper folder mats to hide the edge effects of the print. Since this is a more contemporary print I will mount or float this over a black silk background, maybe silver to make it pop.

I'm curious how you would suggest mounting a plate like this? I've read that some people are using very strong magnets. Glue? At my gallery (not the frame shop) we did a show on alt. process where artists framed their own work, and they used wire over the corners to hold the works, but I didn't like the look of that. I felt the wire was distracting.

Someone recommended fabricating small metal corners, and then painting them to match the photo in different shades of black or grey.

What would you do if this was your photo?

For those curious on the process:
http://en.wikipedia.org/wiki/Collodion_process
http://www.alternativephotography.com/wp/processes/wetplate/the-wetplate-collodion-process
 
Clear film corner straps or traditional Japanese paper hinges. Photos can be tricky, so I would avoid using silk or other active fabrics.

Oops, missed the tin type reference. Just skipped right over it. Dave's comment below on magnets is good. They can be buried in the mount and covered with a thin fabric to avoid any abrasion. Still would avoid silk because of off-gassing which may or may not react with the photo.
 
Jesse... if you are correct that magnets would attach to the tintype, then I like your idea of using a few rare earth magnets to hold it in place. You could use a piece of sheetmetal as a backing and fabric wrap it then float the tintype with the magnets underneath. As long as it wasn't handled roughly it should stay in place. Rare earth magnets are strong, but they do not have as strong of shear strength so you would want them to be handled gently just like any framed art.
 
wpfay,
Thanks for the thought about the off gassing. These plates are actually coated with a layer of lacquer, so they might be safe, but who knows what chemistry hides there. I could use a textured sheet of hand made paper instead. I'm concerned with the corners, as I think they will be visible. At that point I might as well make the corners interesting.

I worry about the weight of the plate and a hinge. Which is were I think the magnet idea is pretty interesting.

Dave,

I think they would work, and I saw a post on apug.com where someone else was doing this. For other projects, I've ordered them from www.amazingmagnets.com for hanging unframed prints at the gallery.
 
If you do go the hinge route, I would suggest using unprimed linen canvas for a hinge instead of a paper hinge. For the adhesive I would use Lascaux 360 or 498 adhesive.

You don't need to worry about the "art" tearing before the hinge in this case so linen canvas would work fine and is strong enought to support the piece.
 
Sorry for the delay, things have been crazy. This project is still in the works. I'm gathering materials and ideas. I'm curious about your archival opinions about glazing in this project. For those who are familiar with the process, the photographs actually have a clear lacquer coating on the surface. Do you think that glass or plexi is necessary?

I'm going to float on a spacer over silk, so the background should be relatively to clean with dust off. I'm not worried about the silk's off gassing especially since we're talking about a sheet of aluminum with lacquer coating over the emulsion. Of course a sheet of optium plexi would help preserve the work and the shadow box, but I'm thinking there would be something great about confronting the work of art directly with out glass, there it is, you the viewer, and the photograph of vervet monkey sculls with drippy lacquer, naked on it's own. Or am I nuts, throw some optium on it.

I appreciate all of your input.
 
Some of the tin types we have copied over the years were held in a frame with ornate metal corners. It was a very thin metal. Looked good with the tin type. Maybe you could fabricate something from thin aluminum or copper. Just a thought.
 
Wet plate photo

If this is a collodion (pyroxlyn) item, its cellulose nitrate should be considered and a scavenging material like MicroChamber paper, or ArtCare board should be included in its housing.




Hugh
 
I like the look of corners, and thank you for the link, but for this work, I'm going to float the plate, I think the subject is dark and needs a contemporary kick. This is a wet plate collodion print. Nitric acid and cotton fibers.

preservator said:
If this is a collodion (pyroxlyn) item, its cellulose nitrate should be considered and a scavenging material like MicroChamber paper, or ArtCare board should be included in its housing.

Hugh
Click to expand...

Thanks Hugh, I'll look into this. Do you think this would be necissary even after the plate is sealed with lacquer?

Any thoughts framing this with out glass?
 
Wet plate

The collodion layer is probably thin enough that it may not present too many chemical issues, but no matter how robust the lacquer layer, physical damage from various sources presents enough of a danger that it is wise to use a glazing sheet, when framing it.




Hugh
 
Thanks preservator, yes, it's a rock and a hard place, glass can cause it's own threat to the work too. As this is a personal project, budget keeps me away from high end plexi! Tough right.

Thanks for your input!

preservator said:
The collodion layer is probably thin enough that it may not present too many chemical issues, but no matter how robust the lacquer layer, physical damage from various sources presents enough of a danger that it is wise to use a glazing sheet, when framing it.




Hugh
Click to expand...
 
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