| So you've taken a great photo, you've had it | | | | Sometimes it's tempting to choose your frame |
| printed professionally and now just want to see it | | | | based on what would work well with the nearest |
| up on the wall - ASAP! Well framing photos is | | | | sofa or chair. But it's always best to just focus on |
| really simple and you don't need to pay an | | | | enhancing the photograph and treating your |
| extravagant sum to have someone else do it for | | | | framed piece as a self-contained item. |
| you! But, equally, you don't want to ruin all your | | | | We've all got pictures on the wall somewhere that |
| good work in producing the picture up to this | | | | are as hard to see when the lights are switched |
| point by displaying it badly. | | | | on as when they're off! You know - that horrible |
| Here are some top tips and common pitfalls: | | | | reflective glare that totally obscures the image. |
| What are the main bits and pieces you'll need? | | | | Good news - you can just ask for special |
| 1. The mounting / backing board (rigid backing | | | | non-reflective glass, problem solved! |
| board, usually made from wood pulp or cotton | | | | Practical tips and pit-falls: |
| fibre) | | | | Don't sidestep the matte! The matte is essential |
| 2. The matte (Often bought separately, sits | | | | for protecting your photograph in its frame. In |
| between the photo and the glass, with a | | | | time, condensation will always accumulate |
| 3. widow cut to the size of the image) | | | | between the frame and the picture. Placing a |
| 4. The glass (Various properties, like, | | | | matte between the two both prevents them |
| non-reflective, available. Perspex can also be used) | | | | from sticking together, and stops the |
| 5. The frame (Can be custom made or a stock | | | | condensation from causing mold. |
| size. Many different materials) | | | | When selecting the matte, mounting board and |
| 6. Double sided tape and/or self-adhesive | | | | self-adhesive mounting corners, always choose |
| 'mounting corners'(Attach the photo to the | | | | those made from acid free, or archival, materials. |
| mounting board and the matte) | | | | All three of these items are at risk from the |
| 7. Hanging materials (Screws and wire attached to | | | | effects of UV light (the damage caused by which |
| the back of the frame for hanging on the wall) | | | | will eventually spread on to the photograph), if not |
| Aesthetic tips and mistakes to avoid: | | | | acid free. |
| The matte should enhance, not distract from, the | | | | To protect the photo itself from the fading and |
| photograph. A good idea is to stick with neutral | | | | browning effects of UV light, choose a |
| colours; white goes well with black and white | | | | UV-resistant glass. |
| shots whilst cream complements colour images. | | | | It's best not to use glass at all if you plan on |
| A fussy little border around a picture rarely adds | | | | moving your framed photograph around a lot - go |
| impact. Go for a decent size of matte that | | | | for the more durable Perspex/acrylic. |
| creates empty space around the image (like in art | | | | When slotting your photo into the self-adhesive |
| galleries). Plus, leave a slightly larger border to the | | | | mounting corners, leave plenty of breathing space |
| bottom than at the top - it's a bit of an optical | | | | and don't push the edges right to the back, |
| illusion and just gives a more balanced appearance. | | | | because paper always expands a bit over time. |
| With black and white photos a plain black frame is | | | | Too tight a fit will lead to buckling. |
| almost always the most striking option. | | | | |