MrMophoto Loc: Rhode Island "The biggest little"

Most artists will use archival white/off white w/ a simple black frame. When my work is accepted to a gallery show the usual requirements are white mat with a simple black wood or metal frame.

frankraney Loc: Clovis, Ca.

As some have said, you can never go wrong with basic white. But there is nothing wrong with using a color, or two,(for double mat) from the photo either....

Size also matters. Usually wider is better, as it makes the photo stand out. Thin just becomes a border.

Here is a link to some great info on matting.

https://www.usaoncanvas.com/include/guide_choosing_mat_size.php

AKARC

My wife dragged me to a framer with a good eye that showed me just how the right color could really make a photo pop. Thinking on it I came to the conclusion it should have been a no brainer since they both dressed a heap better than I.

BlueMorel Loc: Southwest Michigan

Not really. It suggests how to match colors to the art, how to make double mats with one main color and a secondary inner one, why some people use wbite or black or cream, with photo examples, all sorts of mat considerations, including using ready-made ones. It's really quite practical and useful.
I found this manual for $10.99 at Hobby Lobby by the matting area., but I'm sure it must be available online.

LoganGraphic.com also lists a DIY picture framing book. Youtube is great, but sometimes I want to refer to a book close at hand.

ERay

For my B&W photos I have always preferred black pebble mats with white cores. I started this after I saw one of W. Eugene Smith's original prints matted that way in a traveling exhibit of photographs in the 1960s. He always printed dark images and the black mat allowed you to see detail in the shadows of the images. My experience is that an image matted in a darker color mat looks brighter than one matted in white mat. I have always done my own dry-mounting, mat cutting, and framing. I mainly use the black aluminum sectional frames that you put together yourself. They are very economical if you buy them in bulk from 'chop shops' on the internet.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

It depends!

Certain galleries may have a standard requirement or protocol for simple white mattes. Of curse, you can't go wrong with white, black or a shade of gray- theses won't clash with anything or cause any kind of color disharmony. If you are a purist and insist that everything has to go on white, I can understad that theory.

If I am not restricted by any of the above circumstances, theories or regulations, I take a different approach, especially if the pieces you are hanging are for home or business place decor. I am very interested in a wide variety of custom framing techniqes and methods and I don't stick to only one way.

I like to take into consideration, besides the subject of the image, the colors and tones and the key but also the decorative aspects as to where its is going to be displayed and even lighted. Sometimes existing furnishings and decor factor in as well. It nice if the entire piece is compatible with the environment and the theme of any given display. Of course, we don't always have control and we many not be involved in any particular project but the more information I have, the more I can help my client. If the piece is for our own home- my wife and I can control exactly what we are going to do with any particular treatment.

Sometimes I find that a white mattes can be distracting, especially if it the brightest element in the piece.

I have many matte board corner samples plus charts of all the available colors and tones. I also have an app on my tablet where I can mock up matte and frame combinations.

I often opt for a compound matte, a v-grove matte or a wooden or cloth liner in the frame rather that a matte. I thin wooden insert can also be used on the inside edge of a the matte in a coordinated style with the main frame.

A compound mat is comprised of 2 or more mattes. I may select a color for the inside matte that picks up on one of the colors in the image- perha just kind of a pin-stripe of that color. A V-groove mat is comprised of material "laminated" over a sub-material of another color that appears when V -groove is carved into the material. This special matte board also enables matte-carving which can add addition decorative elements to the piece.

Many treatments shoud no be matted- canvas or metallic prints may be more compatible with flush framing in frames that are stylized in keeping with the subject and the decorative theme. Certain metalix and high gloss finishes may be more compatible with metallic frames in a more modern motif.

I some cases, an image may be very suitable to an oval circular or a matte opening or a very different geometric shape. This can be traditional or really out of the box but it can work.

Archival options are always recommended. There are acid-free materials, acid free adhesive hinges and spacers and convatory flass. Non- archival materials can accelerate fading or dethorating of the image due to their eventual decayin or off-gassing. a truly archival framing method is where the print is suspended in the frame/matte, without adhesive or dry mounting, by means of special hinges but that can sometimes be impractical due to wrinkling, curling or extremely lightweight materials . There are certain varnishes. lacquers and coatings which may offer addition protection. What begs questions, is the paper on which the image is printed of archival quality. Analog/silver black and white prints can be archivally processed. Analog/chemical color prints were and are debatable. Ciba prints and even certain Polaroid prints with Azo or metallic dyes were known to be more archival than "C" prints that may have contained organic dyes. Inks? As far as I know there are some archival types but some say the "jury is still out on that" ??? I need to do more research on the matter.

Even framing, fitting and hanging hardware and specialized tools are interesting. There are various kinds of brads, glaziers points to secure prints and mounts. There is a variety of hanging and installation hardware such as screw eyes, D-rings, special wires and sawtooth hangers. There are hanging methods that prevent shifting or slanting of frames due to vibration. There are choices of glass types and finishes.

I am not saying that there is only one method or approach to presentation. The only rule I maintain that good presentation can bring out the attributes of a good image and a poor presentation can not hurt the image itself but can detract from it. Display and presentation part and parcel of the creative and crafting process.

Frame materials, in so far as woods, metals, grains, textures, finishes, colors molding profiles, joining methods and assembly is an art craft, and science in itself. Matte cutting, carving, bevelong, die cutting are all skill sets as well. It's worth investigating.

(Download)

neilds37 Loc: Port Angeles, WA

I use a mat color that comes from the photo. To see how it will look, I do a digital build of the mat around the photo on the computer. I cut my own, always with a V cut.

coolhanduke Loc: Redondo Beach, CA

When I Mat something I usually use a double mat with the inner color accenting something in the photo. Usually the subject matter. As for the frame, maybe play on the same theme or choose a color that goes with the color of the room.

Best thing to do is go to a local frame store if you have one. They usually have tons of mat variations and corner frames that you can "build" a mat/frame combination to your liking with their guidence.

Gene51 Loc: Yonkers, NY, now in LSD (LowerSlowerDelaware)

Nothing wrong, other than it's not archival, and will eventually damage the underlying print. Good for short term, though. Archival, (cotton rag and not paper pulp buffered to achieve neutral pH) is the always best choice for matting.

Spirit Vision Photography Loc: Behind a Camera.

There is a reason why all professional galleries use white mattes and black frames.

CamB Loc: Juneau, Alaska

And that reason is?
... Cam

Bll Quinby

I would answer one question first. Am I framing my photograph so it draws attention as a photograph or am I framing it to blend with the decor?

Having asked myself that question, I will print no larger than 11 X 14 and matte white and frame black. I reason, this will be an identifying look to my work and serve to feature the shot as a photo, the decor is supporting it, rather than the other way around.

Just a thought.

frankraney Loc: Clovis, Ca.

Not archival, but will last quite a few years for someone that wants to hang a photo in their house....I believe colored mats can be treated and called "Acid free", but that is not archival (and gets the unaware guy thinking he got something that will last a decade or more and it will not), as it only gets rid of one acid not both.....

You are correct, truly archival is made of cotton rag, and only comes in white or black.

Thanks for your comment Gene, I always appreciate your input.

via the lens Loc: Northern California, near Yosemite NP

I buy mats in bulk from Redimat (yep, the postage is really expensive) in white, off-white and a light sand color for brown frames. I like the brown frames best most of the time, unless it is a black and white print. If someone doesn't like the mat they can pay the cost of replacing it.

topcat Loc: Alameda, CA

I always use white. It is uniform and goes with everything.