3 steps

1. STEP 1 · WHAT IT WAS CUT OUT OFEffects → CUT & PAPER → Frames & Borders, and open Style. The list is four families now. Take FILM first and pick 35 mm frame: the picture gets its black rebate, and outside that the film’s own edge · perforations at the pitch a camera pulls film by, frame numbers, a bar of stock marks. Width is the edge band. 120 edge is the same idea with a round gate and no perforations; 4×5 sheet cuts a notch code into one corner, and Variation deals a different code. Contact strip lays three frames side by side and honestly brackets the two neighbours a stop under and a stop over.
2. STEP 2 · WHAT IT WAS LAID ONAdd Frames & Borders again on top and pick from PRINT SHOP. Window mat cuts a bevel at forty-five degrees so the board’s core shows, lit from the top left, with a deeper foot · Tone is the mat, Second ink is the core, and a black core is the gallery look. Photo corners and Hinged hold the print rather than framing it, and Hinged hangs it a hair off square. Dry mount bonds it flush with a wide foot and a pencil rule where an edition would go. Deckle is the odd one: its edge is transparent, so whatever the sheet is shows through the tear.
3. STEP 3 · AND THEN BRING IT BACKScanner bed, under INSTANT & PAGE, is the Printroom’s companion from the other end: a print already made, laid on the glass by hand and never quite square, on the lid’s dark ground with its own cut-edge shadow. Use it after Printroom · Printroom prints the sheet, this one puts the sheet on the machine. Beside it sit the two instant chemistries, where the developer’s own edge is the frame, and Magazine, which does not grow at all: it turns the picture into a page falling into the spine.

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