Today's photographer needs the ability to mat and frame to make their product more valuable to their customer and more profitable to themselves. The cost of having prints framed by a professional is so steep it can impinge on profit margins. Yet the alternative - that of purchasing off-the-rack-ready made frames in standard sizes - often limits the quality and character of the presentation. The ideal solution is for the photographer to mat and frame his own work.
This requires a rudimentary understanding of how to mat and frame, as well as the correct tools for doing so. Let's review the best tools and supplies available for the unique needs of the photographer-framer.
Picture Frames for Photographers
Many photographer-framer's opt for the ease and efficiency of sectional frames. Sectional Frames are frames that are cut to the size specified and shipped to the framer with a means of assembly that require no tools. See how they work.
While sectional frames are fast and easy, they can cost twice as much as the same moulding purchased in length and cut by the framer. This may seem a problem, and certainly could be to a framer who routinely uses high end, elaborate mouldings. But for the photographer-framer, who typically prefers simpler frames, the actual dollar impact of opting for sectionals is not so great.
For example, a 15"x19" flat black enamel finish frame might cost $18.00 for the lengths to make it, but $35 as a custom cut sectional, a difference of $18, not terribly much in the grand scheme of things, not when all the rest of the constituents, the mat, the glazing, the hardware, will probably amount to less than $10 in total cost.
A custom frame job of this type might easily cost in excess of $150 at a frame shop, but can be done by the photographer-framer using sectional frames for a cost of under $50. Using lengths, the whole thing could be accomplished for around $30. Under the circumstances, and given the amount of framing a photographer-framer might anticipate, investing in frame making equipment to save that extra $20 per frame job may not be worth it.
Mat Cutting Equipment for Photographers
One place where the photographer-framer will not want to skimp, however, is with mat cutting. He will want a mat cutter that is adequate for his purposes, leaving out none of the essential features necessary for reducing and bevel cutting sheets of mat board, and also reducing foam board and glass. His mat cutter must include a squaring arm because without it he will have to mark out each sheet of material in preparation for sizing it, a time consuming task that is avoided when using a squaring arm. See how a squaring arm works.
In addition, he will want the ability to cut a full 32"x40" sheet of mat board or foam board. Consequently, his mat cutter will need to be at least 40-1/2" long. And he will want the ability to cut 8-ply (double-thick) mat board, since 8-ply is currently fashionable in framing photography. One more thing: he will need a mat cutter that accepts a glass cutting accessory in order to cut glass.
The lowest priced mat cutter for all these purposes is the Logan Simplex Plus Mat Cutter (Model 750), a 40-1/2" long mat cutter with a squaring arm that provides straight cutting and bevel cutting capability. With the addition of a glass cutting tool and an 8-ply cutting accessory (sold separately for under $60), the Simplex Plus Mat Cutter provides all the functionality a photographer-framer needs at a reasonable price.
Photographer-Framers who are members of photo clubs and guilds often discover a lucrative opportunity to frame for other members. Those who decide to pursue this opportunity will want to opt for a mat cutter with more oomph. The Logan Framer's Edge Mat Cutter (Model 650), has all the functionality of the Simplex Plus, but is more heavy duty for greater volume. In addition, the Framer's Edge has a built-in 8-ply cutting capability that allows the use to forego the cost of an 8-ply cutting accessory.
Holding the Contents in the Frame
After a mat cutter, the most important tool in picture framing is a point driver. The majority of picture frames are made of wood and most wood picture frames come with no provision to hold the contents in the frame. In these cases, the framer must provide the means, and the most popular means of doing so is by using metal tabs called points.
Points are pushed, squeezed or driven into the inside wall of the frame recess with a tool designed for the purpose. Inexpensive tools for pushing or squeezing points can be clumsy and time-consuming. What's more, they can be ineffective should the frame be made of a hard wood like oak or maple. In all cases, point drivers are preferred.
The Fletcher Framemaster Point Driver is a fine tool with good action in the hand and the ability to drive points into hard wood or soft wood. However, it only drives rigid points. To drive the more flexible points that are used in gift frames you must buy a separate Fletcher Point Driver designed specifically for that purpose.
On the other hand, the Logan Dual Drive Point Driver drives both types of points in one low priced tool capable of driving both hard woods and soft woods.
Anti-Static Concerns
Photographer-Framers should also have an anti-static brush and anti-static gloves for handling their prints and for handling the components of the picture frame, in particular glass or acrylic to be placed over the artwork. Tiny specks of dust or lint can drive the assiduous framer to distraction. Brushing the glazing and prints with an anti-static brush can save time and reduce frustration.
Adhesives and Tapes for Mounting the Print
Open ended prints (those that are easily reproduced) can be mounted to foam board or mat board using an adhesive that coats the back of the print. Frame shops routinely mount open ended prints in this way by using a dry mount press. Some photographers accomplish the same thing by using an aerosol spray adhesive like Photo Mount or an adhesive covered mounting board like Crescent Perfect Mount.
But a cleaner, faster, easier method is Positionable Mounting Adhesive (PMA). PMA is a 50 foot long sheet of adhesive covered paper on a roll. The sheet is cut to the size needed and the print is placed face up on the sheet where it is burnished through release paper to transfer the adhesive off the sheet and onto the back of the print in a uniform coat. Then the sheet is placed on the mounting board and when it is burnished again it adheres. See how it works.
For limited edition prints, photographers often use a thin, self-adhesive reversible mounting tape like Filmoplast P-90. Or they opt for the ease and efficiency of Archival Mounting Strips, Mylar strips with a self-adhesive band that are assembled around the edges of the print to trap it in place without putting any adhesive on the print itself. This creates a truly archival mount of the print.
Mat Boards and Foam Boards
Unbeknownst to most photographers regular mat board (costing under $8 a sheet) provides an adequate level of protection from the acidity that is latent in any wood-based, lignin bearing material. The neutralization of lignin bearing materials through the introduction of alkalines (a routine process in the manufacture of mat board today) can keep acidity from becoming a threat to the artwork for 50-100 years. Therefore, if the print is open ended regular mat board is adequate for framing it.
However, if the print is signed or a limited edition, the photographer will want to opt for a cotton centered mat board which is lignin free, such as Crescent Rag Mat Board.
When it comes to foam board, it's interesting to note that regular foam board does have some potential acidity. However, this is not a dramatic threat to prints in the near term. It is perhaps more interesting to note that acid-free foam board is not, strictly speaking, acid free, since the core of the foam board is still potentially acidic. However, the face papers - the parts that actually touch the print - are made of cotton and are 100% acid and lignin free.
As with mat board, regular foam board is adequate for backing open ended prints, but acid-free foam board should be used for signed and limited editions.
Photographer-framers have unique needs and are often interested in holding down the cost of framing while still providing adequate protection for their prints and presenting them in the best possible light. These tools and supplies are ideal for the needs of the photographer-framer.
