Frames, mounting and glazing

Anatomy of a frame

• The moulding (profile) is the length from which the frame is cut at 45° and joined at the corners.
• The face width is the width of the moulding you see from the front.
• The rebate is the recess at the back that holds the glazing, the mounts, the photograph and the backboard. Its depth determines how many layers will fit.

Frame size is given by the size of what goes into the rebate, not by the outside dimensions. A “30 × 40 cm” frame takes 30 × 40 cm glass and mount; on the outside it is larger by twice the face width (minus the rebate overlap).

Aluminium or wood

	Aluminium moulding	Wooden moulding
Look	thin, precise edge, a modern look	warmer, more pronounced, a wide range of shapes
Face width	often only a few millimetres	typically from 15 mm to several centimetres
Stability	light and rigid, suitable for large sizes	large sizes need a wider, deeper moulding
Finish	anodised, painted, brushed	stained, lacquered, veneered, foil-wrapped

The manufacturer Nielsen says of itself that its brand has become synonymous with aluminium frames; see the information page on Nielsen frames. Choosing between aluminium and wood is above all a matter of look.

A shadow box is a deep frame in which the photograph is held away from the glass by a spacer. It suits photographs with a deckled edge that “float” on a backing, and three-dimensional objects.

Mounting: reversible or not

• Reversible mounting — the photograph is held in the mount with corners or hinges and can be taken out at any time. For originals and Fine Art prints it is the only good choice. The Library of Congress recommends not using adhesives directly on photographs.
• Mounting to board — the whole photograph is bonded to a board (foam board, aluminium composite panel). It stays flat and needs no glass, but it is irreversible.
• Face mounting — the photograph is bonded face-down to an acrylic sheet. The result is very brilliant and modern, but also irreversible, and it needs a specialist workshop.

Glazing

Type	Reflections	UV protection	Weight and breakage	When
Ordinary (float) glass	strong	little	heavy, breakable	inexpensive frames, copies, rooms without sun
UV-filtering glass	strong	high	heavy	originals, Fine Art prints
Anti-reflective glass	minimal	depends on type	heavy	places with windows and lamps opposite the picture
Museum glass (UV + anti-reflective)	minimal	high	heavy, expensive	valuable works
Acrylic (Perspex, Plexiglas)	strong; anti-reflective versions exist	depends on type	light, shatterproof, scratches easily	large sizes, children’s rooms, transport

Three rules always apply:

1. The glazing must not touch the photograph. There should be a mount or a spacer between them.
2. A UV filter does not stop everything. Visible light fades prints too. Even a photograph behind the best glass needs a spot out of direct sunlight.
3. Acrylic builds up static. Photographs don’t mind; charcoal and pastel do. Clean it only with products made for acrylic.

Materials used in framing and glazing are covered by the standard ISO 18902, which sets physical and chemical requirements for materials in contact with photographs.

Canvas and frames

A photograph on canvas is usually stretched over stretcher bars (a wooden frame over which the canvas is wrapped to the back) and displayed without glass. The edge is either continued from the image (gallery wrap), or mirrored or filled with a colour. A stretched canvas can be set in a tray frame with a gap around it, which does not cover the edge. Canvas without glass is more exposed to dust and light, so where it hangs matters.