Dry mounting large photo on photo rag paper

[Miranda Smith]

I have a 1.7metre x 2.4 metre photo printed on photo rag paper ( gloss rag paper)that needs to be dry mounted to aluminium, then framed.

We dry mount and face mount a fair bit and have a 2 metre wide roller laminator.
If this was a face mounting job or a different paper at this size I would be fine, but to just back mount the image on rag paper at this size is different.

I have not mounted a rag paper this width in this method before. The mounting adhesive I normally use for photo rag paper does not come in the width I need and I cannot see how we can try and overlap it for this image.
I do not want to use heat (and my heat press is not large enough).

The material I use to dry mount, needs to be suitable for long term use, not PVC etc.

It is a very pricey image from a major photographic exhibition, so I cannot use just 'any old mounting adhesive". I cannot outsource this to a signwriter due to the nature of the image.

Not keen on a spray adhesive unless you guys know some great product in USA that I am not aware of.

I have been pondering whether to hinge it but do not think we could get it flat as the client and artist would like.
Any ideas?

 

[framah]

Just so you know... There's no harm in passing on a job that you can't do.... and this seems like a good one to pass. Everything you said makes it sound like you don't have the resources to do it properly, so just say so and get on to the next job.

But... good luck if you decide to go ahead with it.

 

[05]

We've been mounting photographs almost that large (and some things much much larger and heavier) onto rag paper-faced aluminum honeycomb panels with continuous hinges of kozo on all four sides. Our clients being who they are, we get uncut prints, and cut them leaving a 1/2" border all around, which is where we apply the hinges with BEVA film and heat. The photo is positioned, the hinges marked, then the photo is laid face down, the panel put on top and weighted, then we stretch the kozo around to the back, which is also put down with BEVA. The BEVA is re-positionable if heated up slightly. The photos are not quite dead flat, but flat enough that it doesn't show once they are behind the acrylic glazing. Yes, there are spacers to separate the glazing from the photograph itself.

The first things we mounted this way we did almost three years ago, and they appear seem to be as tight as when they were sent out (albeit to controlled museum environments).

The one we're about to start we quoted at just over $5000, over 2/3 of which is materials (including the custom-built frame of custom moulding) -with a less than normal mark-up on the materials.

 

[Miranda Smith]

Just so you know... There's no harm in passing on a job that you can't do.... and this seems like a good one to pass. Everything you said makes it sound like you don't have the resources to do it properly, so just say so and get on to the next job.

But... good luck if you decide to go ahead with it.

To my knowledge there is no one within a 1000 miles that could even attempt this job. This piece has been sent 2000 miles so we can do it after the client has tried for 6 weeks to find a framer somewhere in the country to take it on to their satisfaction.

 

[Miranda Smith]

We've been mounting photographs almost that large (and some things much much larger and heavier) onto rag paper-faced aluminum honeycomb panels with continuous hinges of kozo on all four sides. Our clients being who they are, we get uncut prints, and cut them leaving a 1/2" border all around, which is where we apply the hinges with BEVA film and heat. The photo is positioned, the hinges marked, then the photo is laid face down, the panel put on top and weighted, then we stretch the kozo around to the back, which is also put down with BEVA. The BEVA is re-positionable if heated up slightly. The photos are not quite dead flat, but flat enough that it doesn't show once they are behind the acrylic glazing. Yes, there are spacers to separate the glazing from the photograph itself.

The first things we mounted this way we did almost three years ago, and they appear seem to be as tight as when they were sent out (albeit to controlled museum environments).

The one we're about to start we quoted at just over $5000, over 2/3 of which is materials (including the custom-built frame of custom moulding) -with a less than normal mark-up on the materials.

Thanks for this. I would love to hinge it but was unsure about the hinges (even continuous ones) taking the weight. You have mentioned honeycomb aluminium before which looks interesting. Is this a stronger product? What is the purpose of the "honeycomb"?

I love the BEVA idea. I have this so will give this a go. Good to hear that the BEVA goes well onto the aluminium at the back also. I like BEVA - very forgiving.
My only issue is that there is no spare paper. The photo came with a 10cm white border all round, that is part of the artwork. But I suppose the rag spacer we use to lift the acrylic off the photo will hide any possible showing of the hinge. (not sure if I am explaining this bit properly, but hope you know what I mean).
Do you manage to get the image very flat using this method?

 

[05]

The honeycomb keeps the panel absolutely rigid. For this size, I use 1/2" honeycomb. For the sizes here:
http://www.youtube.com/watch?v=ow6fdgx7GXI&feature=channel
we used 3/4 inch (those are watercolors on paper mounted to muslin, twenty feet wide -the hinges and the BEVA carry a lot of weight). (We used thick Sekishu kozo for the hinges:
http://store.hiromipaper.com/r-011sekishuthickroll.aspx .)

About hiding the edges -I put the glazing in the frame, then apply (with 3M 415 tape) 1/2" square black acrylic spacers just inside the lip of the frame to hide what is behind, and spacers at the edge of the glazing that are just slightly deeper, to keep the shallower spacer off the photo. I get these spacers specially cut from black acrylic sheet, then sent through a joiner on one side, then sand this side down with 600 grit sandpaper so they are perfectly matte.

The frames are made of maple.The back part is 1" square. The lip is glued on, 3/8" thick, and as wide as it needs to be for the border of the photo, usually about 1" for the way we do this; a wide, wide lip is important for keeping the glazing from popping out, especially as you're working on getting the mounted photo into the frame. (This means the face of the frame is 2" wide, a good size for things of this size). The rabbet is 2 3/8" deep to accommodate a 3/4" strainer, the honeycomb, the spacers, and the 1/4" thick plastic glazing.

The images are almost perfectly flat, and have stayed that way for the nearly three years they've been mounted, even the watercolors, which are not glazed. When glazed, because of the thickness of the glazing and the deep spacers, it is impossible to tell that they are not flat -you simply can't get the right raking angle to tell.

Any wonder that it all costs so much?

 

[Chris Martyn]

Re:

I have almost same kind of scenery created on a big photo rug paper. I wanted to give it a look which you are desiring. But the issue was same, finding a photo frame of this size. It was really difficult finding one, but I made some research and soon found a good frame provider in my area. Contacted him and he delivered me what I wanted.

You too can go this way. Surely you will come-up with something excellent who will resolve your issues.