DISPLAYING PRINTS

The best way to assure our photographic and fine-art photo prints look their best is to display them within areas exposed to moderate to bright natural-light (but not in direct sunlight to limit exposure to UV light* and buildup of excessive heat). Alternatively, to assure enough brightness at the print surface, overhead spotlights (with track or swivel fixture; pointed to illuminate print at ~ 30-degree angle with the vertical-display wall using appropriate size light cone and a dimmer switch) are recommended [with more than 500 lumens (same as “lumens/square meter”) light-source incident on print surface] while keeping most of the “living space” nearly as bright. This illuminating method will bring attention to the print while reducing print-surface/glazing reflections from windows and bright hotspots. 

We highly recommend the source of illumination to be “daylight” color temperature of 5000K to ~ 6500K. Furthermore, if illuminated by artificial lighting, we recommend the light source with high color-rendering index (CRI > 90) with inclusion of red light (R9 > 90; for example only (we have no affiliation with these companies) ----> (https://www.northluxlighting.com/collections/replacement-lamps), or 

https://www.amazon.com/stores/page/32EEEB5A-0A1C-46A3-894A-1CFA1CF7940F (be sure to see specification sheet). 

* Ultraviolet Light (“UV light”) component is part of the natural daylight and it may be part of the artificial light spectrum (common in florescent light bulbs). Higher exposure to UV light is associated with earlier degradation of prints, including color fading of photographic and fine-art photo prints (most damaging in the range of 285nm to 400nm; see OBAs below). Both glass and acrylic effectively filter almost all of UVB light below ~300nm (nanometers). Typically, acrylic (glossy or non-glare) filters or blocks UV radiation to nearly ~ 70% while clear glass used for framing filters UV to nearly 45% of incoming intensity. Specially manufactured acrylic (plexiglass) may be used to block UV radiation up to nearly 100% from 300 to 380 nm and may include anti-reflective properties. 

Optical brightening agents (OBAs) are used in all photographic papers, some fine-art papers, some canvases, and some other print substrates to make the print surface appear “bright(er) white” in the presence of UV radiation. OBAs absorb invisible UV radiation and “transform” it (via the process of fluorescence) to a visible light (in the blue part of the spectrum) that is perceived brighter. Using bright print surface can boost the appearance of colors and contrast of print’s midtones and highlights. However, OBAs will degrade with the increased “strength” of UV exposure and/or the amount of exposure time (“cumulative effect”; such as unfiltered exposure to direct sunlight or a strong UV source over extended period of time) rendering print more yellow (its color balance had faded) over time. Furthermore, OBAs can affect the color balance of prints based on the ratio of UV/visible light (metameric effect). Yet, consider UV light helpful (and necessary) when displaying prints with print substrates infused with optical brightening agents (“OBAs”). For example, If the prospective customer’s goal is to obtain a brighter print, the protective glazing (glass or acrylic used with frames) should not filter a lot of UV light to help achieve the brightening effect of OBAs. That is, OBAs brightening effect decreases with increased capacity of the glass or acrylic to filter greater amount of UV radiation.  

In an attempt to study accelerated-aging of printed paper substrates/ink combinations under controlled conditions; research has shown that, OBA-enhanced visual characteristics of initial print will decline faster than that of non-OBA print (with its visual characteristics changing at the slower rate). For more information, you may link to https://en.wikipedia.org/wiki/Wilhelm_Imaging_Research , or https://www.aardenburg-imaging.com/ However, please consider that each display location has its own environment that is unlikely to correspond to research conditions over a long period of time. Yet, the strict interpretation of research findings may pose a dilemma for prospective customer who may want to maximize the length of time before the print visual characteristics have declined enough to dismiss its value. 

If OBA content is listed by the manufacturer or printing lab (or if we determine via UV flashlight that the paper is sensitive to UV exposure), we list OBA content (generally as, Yes or No) in our merchandise description, product selection, and on customer’s receipt. Otherwise, the prospective customer may assume that, if no information is stated about OBAs, we are assuming “manufactured without Optical-Brightening Agents added to paper.” 

To keep your photographic and fine-art photo prints look their best for extended period, minimize as many of the following detrimental exposures deviating from your typical environmental conditions (including when you are not present): very-bright light (particularly direct sunlight), atmospheric pollutants (such as ozone), heat extremes, and humidity.