Exhibition decoration photo frames. Thoughts on the photo exhibition

September 10 at the yacht club " Scarlet Sails» a photo exhibition about the life of foreigners in Russia has opened. The author of thirty black and white photographs is 23-year-old Svetlana Privalova (). Having self-proclaimed myself a “coordinator”, I decided to help with the organization - just to “weakly” take the unattainable heights of a personal exhibition in Moscow.

The project was called “The Rule of Five Looks.” Its implementation lasted about six months - during this time we met countless expats, eventually selecting five - very different and sociable enough to withstand participation in our venture.

Frank Ebbeke from Germany has been living in Russia for 13 years, but still does not speak Russian - the first “character” of the project. He introduced Privalova to another participant, Thomas Kesler from Austria, a chef at the Marriott Hotel. Thomas came to Russia 4 years ago, when he decided that working in Moscow was much more interesting than in America - although he was also expected to work there.

Ram Kumar came from India 15 years ago. He is very accustomed to Russia and now considers our country much more “comfortable and familiar” than his native India, where Ram tries to travel only in winter - the summer heat there seems unbearable to him. Chinese Yao Yao is the only girl who took part in the project. Yao Yao graduated from a Russian university and stayed in Moscow because she fell madly in love with her (and the Russian Mitya). Now she works for the Chinese corporation Huawei and considers herself the happiest Chinese woman living in Moscow.

Marcel Yoko from Congo is a musician and record holder for the longest residence in our country; he has not left its borders for 18 years. By first education, Marcel is a biologist - he graduated from Krasnodar State University. Then he lived in St. Petersburg, and now he has reached Moscow. Here he created the group “Sun Music” and teaches French.

After a couple of months of pursuing these people with a camera, Svetlana received gigabytes of footage in which 5 foreigners lived their ordinary Russian lives - a German, an Austrian, an Indian, a Chinese woman and an African. Now she had the difficult task of selecting and printing photographs, and I had the difficult task of finding a hall.

We definitely need to say a special word about our zero budget. In principle, the word “zero” is enough to understand the situation. And one more thing needs to be said about Privalova’s photographs. They are black and white and very classic, despite the young age of the photographer. Although the trend is completely different. Very often, curators of young photographic talents tell their protégés that bears are cute... but they need more cruelty. After all, the cruelty that came out from under the lens of a young talent looks even more terrible than ordinary cruelty. And that's cool.

Then the photo kids take these very bears, put them in a puddle of red paint against the backdrop of some beautifully shabby wall, and put their classmate next to them, thin and with running mascara, and press the button. These photographs speak of the difficult fate of a creative person who is forced to take such cards. Since Privalova has a slightly different style in photography, after a couple of weeks of active search, I had to discard all the fashionable youth places - for them it is “unformatted”, but for us “unformatted” is a death sentence.

Realizing this, we began calling galleries scattered throughout Moscow. The gallery owners rejoiced at the calls and immediately quoted the cost of their “walls.” Nobody wanted to get involved in pure art. When we walked around half of Moscow, the photographs were already printed. Thirty subtle photographs about people, six photographs about each - the character is clearly visible.

By this time, the idea came to me to find a sponsor to rent the hall - but the crisis ruined my brilliant plan. And then, like in a fairy tale, many days and nights passed before we were introduced to the man who decided everything. He liked the idea - and we agreed to hold an exhibition at the Scarlet Sails yacht club. From 10 to 24 September. Two weeks. Preparations began for the opening, which was decided to be done according to all the rules. More precisely, according to all the rules, the opening of an exhibition is called a vernissage.

The yacht club, no matter how kind it may be, is still not a gallery - I had to rack my brains on how to place photographs on the walls, into which it is impossible to drive even a small nail. Therefore, it was decided to make stands. Thirty-one timber three meters long in the OBI store, cut independently after purchase - special service“cutting” does not apply to beams.

An hour and a half of sawing - the first experience. In addition, the male part of the buyers was happy - they gave a variety of advice, observed, almost applauded - but did not help. Then - twenty meters of fabric, a furniture stapler, a screwdriver, 3.5 mm screws, metal corners, a lot of new words in the vocabulary.

It took three days to assemble - in the morning instead of charging and in the evening instead of sleeping. The day before the vernissage, the stands were ready: assembled, covered with canvas and arranged in “Scarlet Sails”. In the morning before the exhibition, they hung up photographs and were terribly nervous. Thomas, being the chef at Marriott, helped with the food - by 16:00 a van arrived, from which countless tiny sandwiches were unloaded.

By 19 o'clock the invitees began to arrive. The participants of our project also invited their friends - we had a very international event. But the main thing is that it worked out. The exhibition will be open until September 24 from 11 a.m. to 8 p.m., admission is free.

Judging by the letters that you, dear readers of my blog, sent me, the topic is very interesting to many. Therefore, today we will talk about such a component of a photo exhibition as photo design.

Size of photographs

It's difficult to say which size is the best. It all depends on the theme of your exhibition. For example, landscape photographs look great in large formats, when the length of the photograph is one and a half to two meters. The large size allows you to step inside the photograph and immerse yourself in it. Consider all the details of both the near and distant plan. Wedding photos look optimal in standard sizes 30*45 and 40*60. For portrait photographs, genre photographs Sizes 20*30 are sufficient. In some cases, works of a smaller size may be used.

Design options

Until recently, there were two ways to present photographs at a photo exhibition. Now we can say that there are three of them.

Passepartout, frame - Classic of the genre.

What could be simpler than just a printed photograph. It’s not simpler, but it can be better if this photo is framed in the right way. For more than a hundred years of photography, little has changed. The high-quality one still looks beautiful, and of course the mat. If you want more chic, you can add a stylish frame. But the simplest and most stylish option remains a photo card and passe-partout. As a rule, works in this design are hung on a fishing line.

If you decide to frame your photograph in this way, remember that the frame needs to be larger than the photograph. If the photo is 20*30, then the frame should be 30*40. The empty field around the photo will absorb the mat.
In fact, the frame is a matter of taste. But you need to understand that a framed photograph is not so easy to mount on the wall. The fastening must be secure, otherwise the picture may fall. As a rule, this is a stud in the wall.

The cost of one job is based on the following factors:
Photo printing - 20*30 approximately 30-40 RUR
Passe-partout 30*40 with a cutout for a photo size 20*30 – about 100 rubles
Photo frame with glass, size 30*40, about 300 rubles (the cost depends on the baguette, I took a fairly simple option)
Fasteners – 10 RUR
Total registration of one work starts from 400 rubles

The advantages of classic design
-stylish
-Beautiful
- the passe-partout emphasizes the photo, directs your gaze to where you need to look
-glass protects photos from touches
-if without frame and glass, inexpensive, light weight
-convenience of storage

Minuses
- heavy (if with frame and glass)
- fragile (glass may break)

Printing on foam board

Foam cardboard is a modern material. Very easy to use. It is a solid but very light base; on one side it has a sticky side on which you can stick (roll) a photograph. The photo is obtained without a passe-partout, but it is possible to put the pen card into a baguette, thereby turning it into something like a painting. Photos on foam board look great. Nowadays, most photo exhibitions are designed in this way, mainly because of their practicality, reliability and ease. A photo on foam cardboard weighs about one hundred grams. Very easy to install. does not get dirty, unlike a photo with a mat. You can easily hang it on the wall with double-sided tape and it will stick. Foam cardboard is great for.

The cost of one photo rolled onto foam cardboard is approximately 250 rubles (size 20*30)

pros
- light weight
— ease of transportation and installation
- keeps well.

Minuses
-Over time, the glue dries and the photo may become detached from the solid base. Treated by gluing

Print on canvas

Recently, printing photos on canvas has become very popular, so much so that they began to use it in the design of photo exhibitions. Photos printed on canvas look truly cool. The viewer looks at the photo, but sees a painting. It looks very impressive and expensive. Particularly suitable for wedding exhibitions. It requires a baguette, and a high-quality one at that, otherwise it looks unfinished. A baguette increases the cost of an already expensive pleasure.

Perhaps you have accumulated enough photographs to organize a photo exhibition, but how to arrange them? On this moment Many photo printing centers offer a service such as arranging photographs in a passe-partout. A photograph designed in this way looks more impressive; due to the side margins, the image is separated from its surroundings and becomes a separate object that attracts attention.

How to correctly arrange your photo into a passe-partout at home? Let's consider two methods, the first is by sticking a photograph on a mat, and the second is by cutting out a window in the mat.

So, what is a passe-partout?
This is a multi-layer cardboard for processing photographs of various thicknesses from 0.8 mm to 3 mm. In art stores you can choose a mat of any color, but the most commonly used is white, which has many shades. Also pay attention to the surface, it can be both smooth and textured. It’s not worth saving on mats; poor quality cardboard quickly fades and deteriorates and can also ruin appearance your photo. In terms of size, it is better to buy sheets of 80 by 100 cm, this is more economical.

Sticker of a photo on a passe-partout.
We have a print measuring 11 by 15 cm (this is what I have), what margins should there be to make the image look advantageous?
There are no exact settings here, but there are general rules– with a horizontal format, the side margins should be equal and larger than the top and bottom margins, and with a vertical format, the top and bottom margins should be larger than the side margins. For this photograph format, we will take the margins equal to 5 cm, so the side margins will be 5 cm, the top 4 cm, and the bottom 6 cm.
Why is that?
The photograph on the sheet should be placed not in the physical center of the sheet, but in the optical one, which looks more harmonious. Therefore, the top margin should be slightly smaller than the bottom.
There is also a geometric method for finding the optical center; now we will check how right I was in my calculations.
So – we have a sheet of mat measuring 25 by 20 cm. (Fig. 1) Let’s align the upper left corner of the photo with the upper left corner of the mat. Next, measure the distance from point A to point B and divide this distance in half and from this point lower the perpendicular down.

Fig.1

Then we measure the distance from point C to point E, divide it in half in the same way and draw a parallel line relative to the bottom edge of the mat. From point C we draw a diagonal to point P. The point of intersection of two straight lines I is the coordinate at which we will place the lower right corner of the image.
By placing our photograph in the optical center of the passe-partout. (Fig. 2) and taking the distances, we find that the side margins will be equal to 5 cm, the top margin 3.5 cm, and the bottom 6.5 cm. It’s up to you to decide which calculation method to use - by eye or geometric. 🙂

Fig.2

Next, use a pencil to mark the vertices of the photo on the passe-partout and turn the photo over, you can glue it with rubber glue, it does not spoil the photo and is easily removed, just rub it with your finger, it rolls into a ball. Or you can use double-sided photo stickers or corners. Finally, you can frame your photo from the mat in a wooden frame.

Passepartout with a window.
We must admit that this method of photo design is more expensive, but the result is worth it.
What we need: a sheet of thick and thin cardboard, a pencil, an eraser, a ruler, a knife for cutting mats, corners for photographs or double-sided stickers, paper tape, fine sandpaper, a breadboard knife, possibly a rubber mat.
So, let's begin:
We have already decided on the size of the mat, so all that remains is to cut out two sheets of the same size, the thin one will go on the backing, and the thick one on the top will go on the window. (Fig.3) Place something on the table first so as not to spoil its surface when cutting.

Fig.3

Next, we take a thick sheet of mat, turn it face down and draw our window, taking into account the margins - 5 cm on the sides, 3.5 cm on the top, 6.5 cm on the bottom. If we want the edges of the mat to extend into the photo, then subtract 3 mm. I have a tap on my knife that allows me to draw an even rectangle of a given length and width.

Fig.4

Then we take a knife for cutting mats (I use a knife from Logan mod.4000), with the help of such a knife we ​​make a cut on the surface of the cardboard at an angle of 45 degrees, and make a neat cut on 4 sides. (Fig.5)

Fig.5

It must be said that the bevel creates the impression of a smooth transition from the mat to the image. In this work it is better not to rush and do everything slowly and smoothly. After cutting, we squeeze out the window and carefully process the bevel with sandpaper. (Fig.6)

Fig.6

We take our photograph and place it in the optical center of the substrate mat. If we use corners, we can press down the photo with something heavy so that it does not move and glue the corners to the mat. This mounting method allows you to painlessly change the photos in your exposure.
Now you can connect the lower part of the mat to the window using paper tape from the top side. The fastening must be on the inside.

Fig.7

Voila - our creation is ready, all that remains is to choose a decent frame (Fig. 7)

2009 © David Fedulov

The presence of exhibitions is one of the criteria by which the success of a photographer is assessed. Even if your photographs were just hanging in a friend’s garage, this is already a contribution to the treasury of personal success. And, of course, it strengthens self-confidence. Do you want more?

Stanislav Beloglazov, photographer, director of the photo school and photo agency “Magnet”

A photographer cannot help but share his creativity with the people around him. Pictures need to be posted on the Internet, shown to friends, exhibitions organized... This is necessary, first of all, for self-expression. Consider this the mark you left on this planet.

Social networks provide every opportunity for promotion. But photographs printed and hung on the wall give a different feeling from the picture and different detail. There is no way to avoid the fact that the vertical image on the monitor looks visually small. Measuring 70 by 100 centimeters, the painting blooms with new colors.

The photographer, looking at the photo, remembers the feelings at the time of shooting. Therefore, it is better to take pictures, forget and not touch the photos for a month. Only then start processing, sampling, and searching for a concept. It may turn out that those living impressions that were during the shooting will go away. The photograph will turn out to be uninteresting or, on the contrary, some new meanings will emerge.

Selection of photographs is 80 percent of the success of an exhibition. And approximately the same percentage of material remains in the basket. Any collection should have an idea. It can be formulated in the title of the exhibition, but it is better if it is understood without words. Pictures can be combined by theme, mood, light. For the sake of the idea, technically or compositionally good shots may be inferior to photographs that are weaker, but fit better into the series. The photographs should provide a holistic idea of ​​the selection.

The sequence in which the frames are arranged plays a role. There are laws that determine perception. When photographs are hung independently of each other or next to each other, it produces a completely different effect. Print the photos on a black and white printer and try to arrange them in a certain order. You can also rearrange frames on the computer screen.

At the photo selection stage, it is important to involve people with a fresh look in the process: parents, friends... This could be a person who does not take photographs, but loves cinema or goes to exhibitions. The task is not for him to evaluate where the horizon is littered, but where the composition is unsuccessful. It's interesting to hear what he understood from the photo selection.

Museums and galleries independently search for photographers and consider proposals. So show them your photos. But it's better to take three great photos than 30, of which five will be terrible. A spoiled impression will indicate that the luck was accidental, and you did not have enough talent to select good shots. The question always arises: whose money to print photos with? You can spend money on printing yourself, and the gallery will take care of the design.

Offices can host a photo exhibition shopping centers, clubs, cinemas, schools and universities. My first exhibition took place at the former Ural State University within the walls of the then Physics Faculty, from which I graduated. Stas Slavikovsky (deputy director of the Salyut cinema) and I bought ourselves an old Zenit and drove through Europe from Denmark to Bulgaria. We printed 300 photos measuring 10 by 15 centimeters and taped them to the wall in one line throughout the faculty, leaving only the doors untouched. Place photos wherever possible: even in the garages and sheds of friends, in those places where your work will definitely be looked at. Why should paintings lie in the dust? Let them live somewhere.

" Today we will talk about what materials are used for high-quality photo design and how they differ from each other.

Before us is a basic design scheme for works of fine art. There are more complex design schemes, but we will not consider them in this article, because they are rarely used in real practice, especially when applied to photography, and in any case go beyond the scope of museum-gallery level design.

The design scheme is based on the so-called basic “sandwich”, consisting of four layers. Top down:

1) Cardboard with a cut-out passe-partout window
2) The photo itself
3) Adhesive base or mounting tape
4) Back (back) cardboard

Such a “sandwich” in itself can be a complete work of art if it is made using special technologies from special materials that ensure the storage of the print for a long time. Design in the form of a “sandwich” is often used for a photographer’s portfolio, storing photographs in private collections and museum storerooms. It is in the form of such a sandwich that prints are often sold at auctions, in galleries, and even in ordinary tourist and bookstores.

In this case, the author's signature and information about the print (circulation, copy number, date of shooting of the negative, date of printing), as well as darkrum/gallery certification stamps (sometimes stamps and autographs of the printer and master designer) are placed on its back.

As a rule, a frame and glass are received for a decorated “sandwich” already when it is necessary to put the photograph on display - in a museum, gallery, exhibition, for private viewing or for interior decoration. In this case, most often the buyer of the photo, not the author, selects the frame to suit his tastes and goals.

Thus, in different cases, different layers of the presented design scheme may be absent or present. IN general view any layer is optional. Even a basic “sandwich” may lack, say, passe-partout.

This is the design I preferred, for example, famous photographer Ansel Adams. Moreover, he believed that the author had not completed his work if he did not mount the photographic print on the cardboard, and he signed the cardboard with the printed print, and not the print. He rarely used a passe-partout.

Looking ahead a little, I would like to note that, contrary to the popular opinion about the high cost of decorating with high-quality acid-free materials, with the right approach, the cost of such services is not prohibitive. For example, in the SREDA Film Lab, the above products measuring 30x30 cm cost customers only 1216 rubles (with mat) and 601 rubles (without mat).

Design on cardboard without mat, also suitable for works that contain a signature on the technical white field of the print. However, for such a case it is not difficult to add a passe-partout in such a way that the white frame with the signature is not covered by it. This is why experienced photographers put the signature closer to the edge of the image and leave white space at the bottom of the signature.

If we talk about the high-quality design of a photograph that is intended to be saved for the future or sold, the cardboard and adhesive base from which the basic “sandwich” is made is of fundamental importance. Let's start with his description.

Cardboard for passe-partout

Design professionals distinguish three categories of cardboard quality for mats: standard, conservation and museum cotton.

Conservation and museum boards are used to frame works of art that should be preserved for the future. Standard cardboard is suitable for the design of images that do not have artistic value, as well as for the design of works that do not require long-term storage(for example, for one-off exhibitions).

For high-quality design of photographic prints, materials such as standard foam board, MDF, fiberboard, waste paper, binding cardboard, aluminum-graphite composite “dibond”, etc. are never used instead of cardboard.

Standard cardboard

Typically made from unrefined wood pulp. Even though some types of standard paperboard are cleaned to a certain extent, they still do not meet conservation standards. Wood pulp contains lignin, which increases the acidity of the material over time. Acid appears as brown spots on the surface of the cardboard, which over time can migrate onto the painting itself, especially in the corners of the mat's windows.

The biggest threat to a work of art is the use of standard cardboard as the main mat and backing. Even cardboard treated with calcium carbonate to a pH level of more than 7 is not suitable for conservation design, since such treatment only delays the release of acid.

Conservation cardboard

Conservation cardboard is made from wood pulp that has undergone a chemical cleaning process, after which only a small lignin content remains. Conservation cardboard must not contain recycled waste and may include elements of cotton fibers. It is found in both single-layer and three-layer forms. If it is a three-layer cardboard, then both the paper used in it and the core must be of conservation quality.

Conservation cardboard is always treated with calcium carbonate in order to restore its alkaline level. Initially the pH should be around 8.2. As with museum cotton board, the pH level tends to decrease slightly (according to synthetic artificial "aging" tests at 100 years). Conservation board comes in a wider selection of colors than museum cotton board.

Conservation cardboard has a significantly lower impact on the work of art and is suitable for framing photographs without changes for a long time (25-50 years or more according to synthetic tests).

Museum cotton cardboard

Made from 100% cotton fibers and contains no waste. Cotton fibers are a pure type of cellulose that does not contain lignin. This is the main advantage of museum cardboard, which allows you to preserve photographs for 100-200 years or more according to synthetic tests.

The process of converting cotton fibers into paper pulp is very simple, and since they are initially white, they require little to no bleaching, unlike wood pulp. In most cases, museum cotton board is treated with calcium carbonate to increase its alkaline level. This is a necessary protective measure against harmful effects environment In addition, it helps slow down the natural aging process.

In the production of museum cotton cardboard, the purest materials are used - organic dyes, alkaline binders, adhesives made from natural starch and water, without containing alum and other pollutants.

Initially, the pH level of museum cardboard is between 7.5 and 8.5, and over time these values ​​decrease very slightly (according to artificial aging tests of 100 years).

Museum cotton cardboard comes in single-layer and three-layer types, but is available in limited quantities. color scheme. There is a wider choice of colors for conservation cardboard.

Cardboard made from cotton fibers with a conservation quality lining is considered conservation grade, as museum cardboard must consist solely of cotton fibers and contain no wood pulp.

The highest level of conservation design involves working with museum cardboard. However, synthetic aging tests have shown that its properties are slightly better than conservation board, and the price is significantly higher. That's why many professionals have been using and trusting conservation board for many years.

Back cardboard

All popular backboard and reinforcement materials (MDF, fiberboard, waste paper, binder board, standard foam board, AGC, etc.) contain acid and impurities that threaten the artwork. Therefore, for conservation design, which involves preservation for a long time, it is very important that a backing made of special acid-free materials adheres to the back of the painting. These materials include acid-free board and acid-free foam board.

Standard (non-acid-free) backdrops are not advisable, but can be used to enhance the overall rigidity of the design structure (for example, in the case of large works). However, in this case, there must be a backing made of acid-free backing between them and the image. For most medium to small size jobs, an acid-free backing is sufficient without additional reinforcement.

Usually 2 mm thick cardboard is used for the backdrop, but for major works Cardboard 2.5-6 mm thick may be required.

Special acid-free backboard is available in the most popular thicknesses of 2 and 2.5 mm. It is made from special raw materials, additionally buffered to an acid-free level, has good rigidity and does not shrink in a heat press. This option is a solution for decorating valuable works of art.

For small and medium-sized works, the same acid-free cardboard as for the mat can be used as an acid-free backdrop.

Adhesive bases

There are several ways to mount a photo print between the mat and the back cardboard. The most popular is using T-shaped pendants made of adhesive paper with a water-soluble adhesive layer or self-adhesive water-reversible tape. The use of any adhesive tape, masking tape, parcel tape or construction tape is unacceptable even for packaging on standard cardboard, since the adhesive bases of such materials are extremely aggressive towards the photographic print.

In the case of conservation packaging in acid-free cardboard for T-shaped hangers, only conservation tape is used High Quality, acid free. The work is attached to the backing (backdrop), and not to the mat. Also, for high-quality design, special acid-free mounting corners, plates, and sometimes natural (usually hand-welded) adhesives and special acid-free hot-melt adhesive bases are used.

Rolling in a heat press is considered today to be the highest quality method of mounting a photograph into a “sandwich”. This method allows you to get a tight fit of the image over the entire surface of the cardboard without disturbing the structure of the print. At the same time, if acid-free hot-melt adhesive bases and acid-free cardboard are used, the safety of the print is ensured for many years according to the conservation or museum level of design (depending on the type of cardboard used).

There are two types of hot-melt adhesive bases - irreversible and reversible. The first involves the permanent installation of a photograph into a “sandwich” of a print, mat and backdrop, which becomes a work of art. The certification stamp of the laboratory (workshop, gallery), information about the work, the negative, the limited edition, the copy number and the author's signature of the photographer (sometimes also a hand-printing master) are then placed on the cardboard - sometimes on the front on the passe-partout, but usually on the back.

Reversible hot melt adhesive base is used in cases where it is necessary to leave the theoretical possibility of disassembling the “sandwich” in the future (this is done by reheating it in a heat press). Such adhesive bases are much more expensive and are rarely used in real practice.

Frames

Since in a framed work the frame does not come into direct contact with the photographic print, the requirements for its acidity level are significantly lower than for cardboard and adhesive bases. However, from an aesthetic point of view, there are so-called “museum” versions of frames, which are usually used in galleries, museums, when selling works at auctions and among art collectors.

Such frames almost always have a simple straight (not rounded) profile and are painted in simple colors - black, white.

Wooden frames also use treated but unpainted wood and sometimes (less commonly) variations of its natural shades. Aluminum frames use metallic colors - silver, platinum, and rarely gold. Glossy coatings (varnish) are usually not used; preference is given to matte surfaces. Plastic frames are not used for high-quality photo framing.

Museum collections of framing frames, as a rule, offer a limited selection, amounting to 20-30 options. Frames vary in material (aluminum, wood), color (black, white, silver), thickness and depth. Thin frames are most in demand because... they are usually the least likely to distract the viewer's attention from the work of art itself.

Nested and multi-component frames, as well as frames made of complex profiles, are almost never used for conservation and museum design of photographs.

Glass

There are three types of glass for photographic design: regular, non-reflective and museum glass. The key difference between museum glass and non-reflective glass is the presence of a protective UV layer (with an index of 70 and higher) and at the same time increased optical transparency. For museum-level decoration, it is recommended to use glass that blocks 90% or more of UV rays, unless the painting will hang in a museum in which UV protection is already provided. Museum glasses are cleaned with deionized water; the use of technical ethyl alcohol is also allowed.

Glare-free glass does not have UV protection, so it cannot be used for conservation and museum levels of decoration. Ordinary glass is used only for everyday interior decoration.

The cost of museum glass is usually very high. Therefore, as an alternative, recently they are increasingly using special types organic glass, produced under the brands Plexiglass, Acrylite, etc. This is a specially processed plexiglass that has all the basic properties of museum glass, while being 1.5-2 times cheaper. The only drawback of plexiglass is its susceptibility to scratching. At the same time, due to its flexible properties, plexiglass does not break and, in particular, is less sensitive to the thickness of the frame and the hanging of paintings from place to place. No breakage of such glass in production process also benefits from its relatively low cost.

In order to reduce the likelihood of scratches on plexiglass, it is wiped with special optical wipes, sometimes using special liquids. However, over time, plexiglass may become cloudy to some extent, in which case it is recommended to replace it.

The Magnum Photos agency, for example, actively uses Plexiglass to frame photographs when selling them.

The materials were prepared on the basis of darkroom, laboratory and design workshop SREDA Film Lab. In the following articles we will talk about how to correctly cut mats, wash barite prints, how a heat press works, what reversibility of installation is, how to correctly certify and sign photographs and much more. Stay in touch!