The gallery will know what to hang where and how to arrange it, but it’s up to you to ensure it’s presented in a professional manner. Applying proper framing techniques can mean the difference between a show that sells out and a show that flops.

A finely matted and framed photograph is truly a work of art; and the opposite is true for poorly-chosen, mismatched frames which can decrease the value of your pieces.

Although the frame is secondary to the artwork being displayed, it’s important to get the framing right to enhance the presentation of the image and encourage a sale. By following a few guidelines about theme and style, the restrictions or allowances of the gallery, and always keeping your audience in mind, you and the gallery can enjoy a successful show.

Theme

It is important to keep the frames and mat board consistent in style and color, as it helps to create a more professional look. Though varied frames and colors may look whimsical, it often translates into a disjointed, unprofessional look that distracts viewers from the real focus: the art. Incorporate an overall theme to carry through the entire gallery show in order to create a signature look—this helps show off the uniqueness of your art.

Frame profiles with clean lines and white or neutral mat boards keep the photograph as the focal point.

If you’d prefer to use colored mats, allow the colors in the photos or artwork to guide the color scheme of the framing. In some case, brightly colored frame mats may enhance the show’s look. In other situations, choosing a strong color scheme in the framing may cause the integrity of the photo to be lost.

Wisely choosing color can also help bring out the finer points of each image. Consider the photo’s subject, mood, style, and color temperature.

If you do choose to use a mat board in a color other than a neutral, they should all remain within the same color family in order to maintain the consistency of the whole showing. Disjointed colors will interrupt the flow as a viewer scans the room or moves from one image to the other. If you are having trouble, take a step back and view the entire collection as a whole.

By keeping the frames and matting consistent, you can also save on the overall cost of framing. In addition to cost savings, bulk orders ensure even more consistency among the frames and mat board. With a bulk order—even as few as 10—the frames are all selected from the same batch, and you can easily swap one out if one is damaged or to simply keep one as a spare. If each frame is unique, you have no backup option.

Gallery Limitations and Allowances

It’s crucial to work with a gallery that will take great interest in your show and ensure it is reflected well in all aspects. Before deciding upon the gallery in which to showcase your artwork, meet with the gallery owner or representative to ask a few questions.

• What type of lighting do you have? Choosing non-glare acrylic may be best if the lighting system produces a lot of glare.
• What is my allotted wall space? This will determine the print, matting and frame sizes.
• Do you allow glass? Some galleries don’t allow glass due to potential damage to artwork.

Make sure you tour the gallery and ask these questions before buying frames and framing materials—otherwise you may end up purchasing the wrong materials, wasting time and money.

Choosing glass or acrylic for framing is an important step, because the glazing serves more than one purpose. Aside from preventing people from touching the photos, the finish of the glass or acrylic glazing can keep colors looking rich and lines sharp. The choice of glazing can even have a softening effect.

Glazing is also a protective framing material, and not just from the fingers of curious viewers. It is very popular for artists these days to not only show their work at galleries but at restaurants, bars, coffee shops and even outdoors.

The environment of these spaces is vastly different from a museum space—at bars and restaurants, smoke, food and other “art-unfriendly” aromas may be absorbed by the paper materials in the artwork if it is left uncovered.

Natural damage occurs when frames are left with improper or, worse yet, no glazing. Discoloration, for example, is a common problem that can ruin the appearance of the overall framed artwork. This type of damage is often caused by unfiltered light, which occurs when the framed pieces uses poor or improper framing materials—especially one without the proper UV protection.

Artglass products, which are specially coated UV-protective glass used for picture framing, will help prevent your photos from fading or changing color due to light damage.

Artglass is not considered conservation grade, though it does block over 90 percent of harmful UV rays and will preserve the photographs for a much longer time than glazing with no protection.

Acrylic glazing products, such as Acrylite, can contain conservation-grade UV protection—this means that the UV protection meets certain ISO standards, and is often of the same quality you find in most museums.

Above all, choose your glazing product based on the location of the gallery. If you are showing your pieces in an open-air space with lots of natural light, UV protection is a must. As UV protection comes in various grades, with conservation grade being the highest, it is important to carefully consider this aspect of the glazing.

A space with bright, artificial lighting may necessitate non-glare and anti-reflective glass/acrylic glazing, allowing those at your gallery showing to view your art completely unobstructed.

For galleries that require non-glass frames, choose high-quality framing grade acrylic with a non-glare matte surface such as Acrylite non-glare acrylic. Gallery showings that feature very large pieces may be better suited to acrylic, as it is lightweight and shatterproof. Smaller pieces can handle glass, but it is important to then offer your customers some way to protect these pieces as they take them home.

Viewer-Friendly

There may be some people at a show who appreciate your art, but can’t afford the price tag. Keeping a stocked print bin for people who can’t afford a complete framed piece is a great way to make sure interested guests can leave with one of your pieces of art.

It is in this area that you can experiment more with matting sizes: large mats on a small print can add an air of grandness, for example, that may look out of place in an otherwise modest gallery showing.

In addition, with a print bin, you are able to play with mat board colors that you should not include in the display pieces—so have fun with red, blue, green and other hues in the mat board.

You can offer the same print mounted in a range of different color mat boards to appeal to more customers—and later, you can see which mat board and print combination sells the best. This will help you plan future shows, allowing you to become more familiar with the mat board and framing options that suit your work best.

In addition to the print bin, provide a stack of crystal clear bags that comfortably fit the size of your prints so these people can bring your art home without damaging it; this is a great way to protect the art and show it off at the same time. Make your prints ready to frame by adding a piece of foam board to the bag as a backing.

Transport

The safe journey from home to gallery, then gallery to the buyer’s home requires some forethought. Even framed photographs are susceptible to damage while being stacked and moved at the gallery. Invest in some heavy duty bubble bags and corner protectors made specifically for this purpose.

The GalleryPouch™ premium bubble bag can be used to protect matted prints, mounted prints, frames with or without artwork, gallery wrap canvases, rolled canvas and many other objects that can be easily scratched or damage during transport, storage and set up.

Cardboard corner protectors slip easily over the corners of frames so that these vulnerable points of the framing package are not dented or dinged during the drive home. Corner protectors are an inexpensive yet thoughtful item to offer to your customers.

Show Time

Showing your photos or artwork can give your career the boost it needs. By applying a bit of knowledge on how to frame images well, you’ll make sure your work is displayed in a way that’s worthy of its artistic value and adds to the show, instead of being distracting.

Brush up on what potential customers may ask when they purchase a print instead of sending them to the nearest frame shop. Not only will you expand your own knowledge, you’ll present yourself to customers as the professional photographer that you are.

Framing Terminology

Photographers can talk endlessly about depth of field, lenses, ISO, and so on. Like photography, framing has its own special set of terminology with which you may not be familiar. Before researching anything else, review some of the most important terms in framing.

Conservation framing

This type of framing seeks to slow the deterioration of artwork due to environmental factors such as light and moisture.

True conservation framing dictates that the mounted photo must be cleanly removable from the mount board. Museums must adhere to conservation guidelines, even though all acid free materials are used in these frames. Acids and other pollutants will eventually penetrate the frame from the air and walls and contaminate the frame, at which time the artwork must be removed and reframed with fresh materials.

For most of us, such extreme conservation rules are unnecessary, although care should be taken to ensure general household items such as rubber cement are not used for mounting. These items may contain chemicals that will harm your artwork immediately. There are several inexpensive mounting products available today that are safe for your artwork. Some products such as photo corners, mounting corners, and hinging tapes and tissues are all safe products for mounting your artwork.

Glazing

The glass or acrylic that is placed in front of the photo to protect it. Both acrylic and glass have their pros and cons, so it is up to the end user to decide which option best suits their needs.

Mat board

A layer, made of cotton rag, wood pulp, or sometimes other materials, placed between the photograph and the glazing. The mat features an opening or window to view the print, and is used to protect the artwork and provide visual interest. Mat board lies on top of the framed work, adding an extra, protective layer between your art or photograph and the glass, which means the glazing will not directly touch the framed piece.

Mount board

Also sometimes called backing board, this is the board upon which the artwork is mounted. These boards are available in foamcore or acid-free materials for conservation purposes.

Mounting

The act of attaching a print to a mount board. There are different methods of mounting, including hinging, dry, wet, and pressure sensitive.

Dry mounting affixes the artwork to a rigid or semi-rigid backing. It is designed to be used with photos, posters, and water-sensitive artwork.

Conservation mounting uses an acid-free mount board as well as hinges and acid-free tape or adhesive designed to keep acid from getting through to the artwork.

A less expensive process that is similar in nature to dry mounting is pressure-sensitive mounting. It does not require heating or special equipment that can damage the photograph.

If you prefer not to use pressure mounting but want to avoid using heat, wet mounting is right for you. A wet glue or paste is applied to the mount board before the photograph is put in place.

Photo corners

Photo corners are a great archival photo mount for picture framing since they allow you to mount photos to mat board without any adhesive coming into contact with the print. Not all photo corners are created equal. Make sure you do not use photo corners that contain PVC plasticizers or acidic compounds. The two most common types of archival quality picture corners are made from polyester film, more commonly know as Mylar (Dupont Mylar Type D) and polypropylene.

The Mounting Techniques

Arguably, the hardest part of the framing process is mounting the artwork. As mentioned, there are a few different methods of mounting, all of which feature their own pros and cons. Choosing the mounting technique—hinging, wet and dry, pressure sensitive, or photo corners—depends on the customer’s preference. If they ask which method to use, counter with a few questions of your own:

• Will you do the mounting yourself? If so, museum mounting may be too labor intensive.
• Would you prefer to be able to change the mounting board? If so, dry and wet mounting are not good options as they are irreversible.
• Are you worried about preserving the print (i.e. no fading or crackling)? If so, museum mounting (photo corners or hinging tape) is the best option. Remember to use archival mount board and mat board in order to keep the print pristine.

The Mat Board

Mat boards provide protection—provided they are of a conservation grade—as well as visual interest. The acidity (the pH value) of the mat also affects how quickly the picture will deteriorate over time. Cotton rag mat board is the best type you can get, as it is completely acid free, so it is the best choice to preserve prints. Customers can forgo the mat board, of course; if they choose to use mat board, they can also “double” the mat board (use another color of mat board and lay it on the first) to add more depth and color.

Keep in mind the mat board should complement the image, not distract from it. Customers should choose a neutral color that goes well with the colors of the image. Often the best choices are white, cream, light blues, greens and grays. If the customer decides to use a double mat, they can play around with more colors—though the focus should still be on the photograph, not the border.

If you are using mat color other than a neutral, it is usually preferable to not match the dominant color in the artwork. Instead, select a color that is only slightly featured in the artwork and try to match the mat color. This will help the color “pop” more, adding a nice effect.

The print does not have to be centered in the mat board opening; it can be bottom weighted, which means the border at the bottom of the frame is larger than at the top. The visible mat board should not overshadow the print, nor should it look too small. About 15 to 20 percent of the smallest dimension of the image should be the width of the mat’s border around the print, but sometimes a very wide mat board will make a better statement.

These options all depend on the personal taste of the buyer of the photograph; help them make this decision by offering your advice as to how the mat board can be used to enhance—not hide—the print.

The Frames

Many photographers default to slim, black metal frames for photographs, as they are streamlined and simple. However, some prints will benefit from a different style frame. So don’t just answer, “A metal one” when a customer asks, “What kind of frame should I use?” Think about the composition of the print and visualize what kind of frame in which it would look the best.

• Wood frames: Picture frames made from wood are the traditional choice for many homeowners, as they also add a sense of warmth. The customer may want this look if they are looking to create a “homey” feeling.
• Metal frames: These are often the choice of museums and gallery showing due to their simplicity. Metal frames are available in matte and “shiny” surfaces, as well as in a variety of colors and widths. Metal frames are often easier to disassemble.
• Floater frames: Once reserved for canvas, there are now floater frames (frames in which the artwork is “wrapped” around the edges so that it appears to float. These are best for large prints, and are available in metal or wood.

Wood frame from Frame Destination

The Glazing

The options for glazing that are available serve very different purposes. Whether those purposes are important is up to the customer. Glass and acrylic (Acrylite or Plexiglas) glazing both have advantages and disadvantages, which is why they are both still viable options. If a customer asks you which glazing option is better, it is important to let them know that it depends on the situation. Ask them:

• How large is the frame? If it is very large, acrylic is better as it is lightweight.
• Who will be cleaning the glazing? Acrylic glazing requires special care when cleaning; glass does not.
• Will the frame be moved often? Acrylic is lighter but prone to scratching. Glass is heavier but is more resistant to scratching.
• Where will the print be displayed (i.e., will there be a lot of light or temperature changes? Both acrylic and glass are available with special coatings.

Other glazing factors to consider are UV protection and glare potential and protection. The choice to use the optional UV protection on acrylic matters most if you need to conserve your art piece. A properly protected acrylic glaze should provide about 98% protection from direct sunlight. Another factor is decreasing glare and reflection. Non-glare, which has a single side chemically ‘etched’ to diffuse light or anti-reflective, which has an optical coating applied to it. However non-glare glazing reduces the brilliance of your artwork to your work, decreasing the clarity and color with a flatness to the glaze. Anti-reflective coating is more expensive but the clarity of your work is not affected.

Convey to your customers that the glazing is one of the most important parts of the framing package, offering them advice as to which will protect and match the print best.

Layers of framing: foamboard, print, acrylic glazing, and wooden frame from Frame Destination

Get Some Advice From a Fellow Professional

Beyond doing some research, visit your local custom frame shop. These professional framers usually welcome photographers as new friends, sharing valuable knowledge that you may not find in a book. Ask them for advice in mounting prints depending on the substrate, choosing mat board, and selecting the right frame style. Once you have those key partnerships in place, you and your customer may find that the end product—a framed print—looks even better than before.

There’s more to mounting pictures than just display, however. The right mounting techniques protect your art from acidic conditions in the air and from the wall on which the picture is hanging.

There are several techniques used for mounting pictures, each of which uses their own materials and have different final results. The best mounting choice for each photo depends on the importance of the photo, how it is printed, and the desired display options.

Knowing the different techniques – and understanding their pros and cons – will give you more options when you want to mount your work for display.

For more inspiration on ways to display photos in your home, Redfin’s article on creative ways to display photos is a great resource.

Why You Should Mount Your Own Photos

Mounting photos and framing them well gives the photographer many more display options than simply using basic frames. A well-designed combination of frame, mount, and mat forms part of the visual expression of a displayed photo, separating it from its surroundings and giving it more visual weight.

You can have your photos mounted professionally, but it’s a good idea to learn how to do it yourself. Once you have the right materials and tools, it’s less expensive than outsourcing the job to someone else.

Self-mounting gives you more freedom to design your own displays.

You can extend your creativity into the display of your photos by trying different frames, mats, and combinations to see how they affect the feeling of your photos when displayed.

A well-presented photo can be very inspirational.

Mounting vs. Framing

First of all, you need to understand some technical terms in order to explore the art of displaying photos and framed art well. There’s much more to it than stuffing a photo in a frame and sticking it on a nail in the wall.

Mounting and framing are separate steps that can be used together for a great photo display.

Photos printed on paper will always be prone to warping or buckling. Mounting aims to prevent this and give photos a solid basis for display by fixing them to a firm backing. A mounted photo can be more easily handled for matting and framing with less risk of damaging the print.

Mounting and matting also give photographers more options when it comes to frame sizes. Instead of being forced to make a photo fit standard frame dimensions or being limited to standard frame sizes for wall display, a mounted photo can be inserted into a much larger frame – or a frame of non-standard dimensions – by cutting the mounting board to fit the frame.

Mounting Techniques

The method and materials used for mounting photos depend on multiple factors, including photo characteristics, available tools and materials, cost, and convenience.

Conservation is one of the primary considerations for photo mounting.

Conservation mounting techniques seek to protect photos from any damage and preserve them for a long period of time. Most photos do not need to be mounted and framed using the strictest conservation guidelines but knowing the options for conservation mounting and framing can help you protect photos of great personal or professional importance.

Photos that are only needed for short-term display or that can easily be reprinted for display can take advantage of faster, less-expensive mounting techniques.

Dry Mounting

Dry mounting affixes the artwork to a rigid or semi-rigid backing. It is designed to be used with photos, posters, and water-sensitive artwork. This method is rarely used with fine art.

One of the many ways that dry mounting can be accomplished is by using a heat press to attach the artwork or image to a backing board. However, the heat press method can damage paintings. A vacuum press can also be used in the same manner but without the heat.

• Pros – The greatest advantage to dry mounting is it can remove tiny wrinkles and creases from the artwork as well as the effects of cockling. The pressure from the dry mounting process makes it possible to flatten works that might otherwise wrinkle or buckle.
• Cons – The biggest disadvantage of dry mounting is the fact that it is irreversible. This is not a method sanctioned for archival mounting. It is generally only useful when mounting inexpensive artwork that is likely to be quickly replaced, rather than something you want to stand the test of time.

Conservation Mounting

Conservation mounting uses an acid-free mount board as well as hinges and acid-free tape or adhesive designed to keep acid from getting through to the artwork. Another name for conservation mounting is museum mounting. This method is used by most museums. In some cases, acid-free corners can be used to offer another level of protection to the artwork.

• Pros – Conservation mounting is perfect for protecting artwork that is to be hung for extended periods of time. It can be used with a wide variety of artwork. This method can also be used with shadowboxes to provide protection for three-dimensional works. Everything that is mounted using this system can be easily removed later, and the entire frame can be replaced without having to change out the mounting system. Conservation Mounting is very cost-effective, as it does not require expensive equipment such as a dry mount press or roller press.
• Cons – The biggest disadvantage of conservation mounting is the amount of time it takes to go through the process. Everything has to be applied to the artwork in a manner that seals it off from outside air and exposure to acid from external elements. These materials tend to be more expensive because they are meant to provide long-term protection.

Pressure-Sensitive (Adhesive) Mounting

A less expensive process that is similar in nature to dry mounting is pressure-sensitive mounting. It does not require heating or special equipment that can damage the photograph.

This process uses products such as Perfect Mount from Crescent, which has a special adhesive that does not activate until you apply pressure to the photograph.

Once you have removed the protective paper from the adhesive and have positioned your photograph the way you want it, simply apply pressure and the photograph is fixed in place. Make sure to use the protective paper from the adhesive when applying pressure to protect the photograph.

• Pros – Pressure sensitive mounting is very affordable and easy to accomplish for beginners. Because you can purchase the mounting system in different sizes and cut it to scale, it can be formed to perfectly fit any size photograph. As long as all the air is removed from beneath the photograph, you receive a perfectly mounted photograph.
• Cons – Pressuresensitive mounting is only intended for temporary mounting because the adhesive itself is not very strong. This is not a very good mounting system if you are using photographs with heavy papers because the adhesive may not hold up.

Wet Mounting Technique

If you prefer not to use pressure mounting but want to avoid using heat, wet mounting is right for you. Wet glue or paste is applied to the mount board before the photograph is put in place.

Use a piece of glass or some other solid surface to apply pressure to the photograph as you wait for the glue to dry, which could take anywhere from four hours to 24 hours.

• Pros – The mounting process is inexpensive, and the glue can completely set within 24 hours. You do not require any special equipment or any matting boards if you do not want them.
• Cons – This mounting technique is also non-archival, so it should not be used for anything that will hang for years. It is possible for the glue to get on the front of the photo if you are not careful in the application or use too much paste.

Spray Adhesive Mounting

If you are looking for a cleaner alternative to wet mounting, then you can use spray adhesives. Simply place the photograph upside down and spray the adhesive onto it.

You want to be sure to spray the sides, tops, and bottom edges of the photograph before you position it onto the mount board. Once in position, you can smooth down the edges very carefully using your hand.

• Pros– This mounting technique can help minimize waste because you can control the amount of spray you are using. They are also a much more portable option because they are packaged in either large or small cylinders.
• Cons– It may be hard to reposition the photograph once it is in place and you may also find that this mounting technique isn’t as permanent as dry or wet mounting. You also need to make sure to have a very well-ventilated area when using spray adhesives.

Float Mounting

Sometimes you may find that float mounting is an easier option. With this mounting technique, the image appears to be hovering over the mat rather than peaking.

It is especially useful for images with a textured edge that you don’t want to hide. This technique uses gummed hinging tape on the back of the image. It holds well and can be removed later.

• Pros – This is a good mounting option to use when you have textured paper or edges, worn documents, or other older photographs and watercolors. It will not damage the back of the artwork or image. You also have the choice of easily removing the image later if you want to choose a different mounting method.
• Cons– It is very similar to conservation mounting and the process may take a bit longer for you to do when compared to some other mounting options.

Photo Corners and Archival Hinging Tissues

Some photographs may begin to buckle after being framed because the photo, the mat, and the mount board may all begin to expand and contract differently with temperature changes.

When hinging mat to mount board, you need to be sure to use an acid-free linen hinging tape. When you use the gummed version, you will also need water activation and will find that it may be much more difficult to work with; however, it is recommended for more valuable artwork.

You lay the mount board, so it is face up and the mat board is down. They should then be placed next to each other so the tops of them are touching. If one is thicker than the other, you will need to do something to even it out.

You can then cut the tape, so it is as long as the mat board and then place it along the seams of the two boards. You then fold the mat board up to position it on top of the mount board.

For more support, you can use photo corners. However, for this to work, the image should have some kind of border around it because this is what allows the mat to cover the corners. It is a good archival mount because it doesn’t require that any chemicals come into contact with your photograph.

Sizing Mounts for Display

When choosing photos for display, one of the key considerations is how much space is available. The only option for displaying a photo in a small place is to make a small print or crop a photo to size.

When considering larger display spaces, however, mounting and framing become important considerations.

Balancing the size of the picture and frame against the display area is critical for the best view of the photo and also to make the whole display space attractive.

For example, a framed picture that is too small for a large wall simply looks unbalanced and awkward.

Mounting photographs on a larger mounting board and then giving it a larger frame makes both the picture and the display space look better, keeping the focus on your art.

Cost Considerations

The cost of materials used for different mounting techniques is a significant part of the cost differences from one mount to the next. In general, mounts that follow strict conservation techniques will be more costly than those that do not because of the cost of the conservation-friendly materials needed to protect photos.

Ordering frames in custom sizes can also be more expensive than buying ready-made frames in standard sizes. But if you do your own mounting, you can also take advantage of bargains when you find an interesting frame on sale.

Even if it is an odd size, you can use a custom-cut mount and matting to fit.

You can also control the cost of mounting photos by buying your materials separately.

This enables you to choose the most appropriate materials for every individual mount, whether you need basic foam board or conservation-quality, acid-free mount board. Each of the materials needed for mounting photos is available to purchase separately, and you can often buy items in greater quantity to get a discount.

Top Sources for Premade Mounted Frames

If you don’t want to undertake all of the steps of mounting and framing a picture yourself, you can outsource some of the work by purchasing a premade frame and mounting materials.

You can also order standard-sized frames or frames in custom sizes with mounting board and matting cut to fit. Other framing kits include all the hardware you will need to hang your photos.

Frame Destination is one of the top online sources for picture frames and mounting materials. Frame Destination offers a wide selection of frames, mount boards, mats, mounting supplies, and hanging hardware, making it easy for you to mix and match materials and options to meet your needs.

You can order a basic framing kit in standard sizes or order a completely custom frame with specifically chosen mounting materials. All of the individual components are available for separate purchase as well as complete frame packages, so you can take on as much of the work to size and cut custom mounts and mat boards as you wish.

Modern Frame Options

One of the benefits of properly mounting your photos is that you can trade out picture frames for new ones more easily. This means you can update frames to match new decorations in a room or switch a photo to a more appropriate frame if you display it in a new location.

The frame is a big part of the look of the finished artwork, so give some consideration to the style of frame and the material you want to use for your photos.

Canvas Floater Frames

Canvas floater frames are an interesting style of frame for canvas prints where the photo appears to “float” inside the frame without touching it. No matting is used, and the entire surface of the canvas is visible.

These frames have a subtle three-dimensionality which gives a touch of visual interest while keeping the main focus on your artwork.

Metal Frames

Metal provides a clean, sharp look for your photo display. Metal frames can be narrower than wooden ones because of the strength of the material. If you want a minimalist or modern look, a metal frame is a good choice.

Wood Frames

A wood picture frame is a classic choice. Wood frames offer a great variety of different looks, from clean, modern lines to intricately textured borders.

When You Should Consider Framing Services

Professional framing services can definitely be costly, which is why we have given you the information you need to mount and frame photos yourself. However, there may be times that you want to consider professional framing services for your artwork.

If you are ever unsure of the materials and tools you need to frame your image yourself, or you are unsure about what the best frame would be to highlight your art, rather than compete with it, then you may want to seek framing services.

Also, if you find that you just don’t have enough time right now to dedicate to mounting and framing your photos, you can go with custom framing services so you can get the frame back into your hands as soon as possible.

Final Thoughts

Mounting and framing pictures well is an art in and of itself – one that you can use to perfectly complement your photography.

Learning the basics of mounting and framing will give you more freedom and control over the display of your photos, allowing you to show off your best work in beautiful and eye-catching ways.

Photo credit: Peter Marfleet Photography