Topics In Photographic Preservation

Article by Sylvie Pénichon and Martin Jürgens entitled “Two Finishing Techniques for
Contemporary Photographs” appeared on pages 85-96 in:

TOPICS IN
PHOTOGRAPHIC PRESERVATION

VOLUME NINE

American Institute for Conservation
Photographic Materials Group
2001

TWO FINISHING TECHNIQUES FOR CONTEMPORARY PHOTOGRAPHS
Sylvie Pénichon and Martin Jürgens
Presented at the 2001 PMG WinterMeeting, Houston, TX
ABSTRACT
The history, technology, and materials of lamination and face-mounting processes for photographs are
described and cross-sections of face-mounted prints are shown. Trouble shooting for both techniques are listed,
followed by an overview of current and future research.

INTRODUCTION
Since the advent of the medium, photographs have been mounted and presented inmany different ways.
Modes of presentation and formats of works of art are a good reflection of a culture's aesthetic preferences at any
given time. In this manner, the design of a mat or the way a photograph has been mounted can often be a useful
clue to the age of an image (Katcher 1978). Since the mid 1980's, new trends have emerged in the world of fine art
photography. More and more artistshave been exploring the limits of the medium and new ways of displaying their
photographic works. Modern works, be they of photographic or digital origin, often have extremely large
dimensions, and their handling, exhibition, and preservation can be challenging. Recently, artists have been
favoring two finishing techniques for their photographs: plastic lamination and face-mounting to a sheetof clear
poly(methyl methacrylate) (PMMA) such as Plexiglas®. The reasons are both functional and aesthetic. Laminating
or face-mounting large prints gives them a flatness that cannot be achieved with an unmounted print cornered or
hinged in a traditional window mat. It also adds rigidity to the piece and eliminates the need for heavy glazing, thus
facilitating handling and lowering the cost ofproduction. Other advantages include protection against ultra-violet
(UV) radiation, fingerprints, and air-borne pollutants.
Next to the protection these techniques are designed to offer, the aesthetic aspect is important. Laminates may
have many different surface finishes that can alter the original characteristics of the photograph, including the
removal of surface glare. Face-mountingconsists of applying a hard, thick, transparent, and highly glossy surface to
a photographic print, a process that results in a "wet" look, similar to the effect reached by applying varnish to a
painting. The similarity of the silicone rubber adhesive, PMMA, and the photographic emulsion in terms of their
refractive index, their intimate contact with each other, and the exclusion of air, lead to aminimum of reflection and
refraction of light at the interfaces between the materials. In this manner, the scattering of light that would be present
in a layer of air between the print surface and the glazing in a conventional frame is eliminated. The original surface
of the photographic print cannot be seen, whatever the viewing angle or distance. Instead, light reflects from the
surface ofthe acrylic, behind which is a deep "space" of color, namely the thickness of the PMMA sheeting. In
effect, for both glossy laminated and face-mounted prints, the image contrast is heightened, the colors appear darker,
and the perceived saturation of the hues is enhanced, resulting in a very brilliant image.
It is these characteristics primarily that have fuelled the popularity of face-mountingchromogenic color prints
among artists, especially in Germany and other European countries. In a review of German photographer Matthias
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Hoch's work, Hans Dieter Huber points out that it is the surface of a print that determines its reception as a work of
art. He goes on to remark that "the traditional method of framing a photograph with a passepartout and ordinary
glass creates a...