Mounted Photographs

We offer various-size photographs*6 printed on high-quality professional photo papers, including high-quality fine art papers, high-quality canvas, or printed direct to substrate.

Print-mounting options may include one or more of the following: foam-core mounting board (including 3/16-inch thick Gatorfoam® foam/board), canvas stretcher-bar frame, wood, Dibond® (polyethylene core inserted between two aluminum sheets), Polystyrene (plastic), and Acrylic (plexiglass). Mounting options intended for utmost rigidity include: photograph printed directly to specially coated aluminum sheet (“metal print”), print mounted on aluminum sheet, print mounted (or image printed directly) on Dibond®, print “sandwiched” between Acrylic and Dibond® (“face-mounted” to acrylic), and print mounted on bamboo- wood panel. To consider framing options, see “Frames” section below.

Wall-mounting hardware options vary with product type and may include: no wall-mounting hardware (usually selected by customers who want to use our mounted photograph with their own frame), float hanger, keyhole mount, cleat hanger, inset-subframe hanger, wire hanger, saw-tooth hanger, and corner posts. Even if you select mounted photographs with additional wall-mounting hardware, you may still need your own nails/screws. Furthermore, our customer (or the third-party recipient) is expected to provide his/her own tools and supplies necessary to properly (and safely) display our merchandise. Otherwise, we recommend that our customer hire a professional company experienced in hanging artwork.

Although the details and selection of: our photographs, print-mounting substrate, wall-mounting hardware, and frame options are ordinarily limited to our best recommendations and component availability from the same printing lab, you may contact us to inquire about details and customized selection based on your own criteria.

*6 Our images will be printed as close as possible to your selected print size. Please note that due to printing lab tolerances the prints received will have dimensions typically cut up to ~ 1/16” smaller along the perimeter of any size photograph (total of up to ~ 1/8” smaller in vertical and/or horizontal dimension). Consequently, when comparing prints to our website images, print detail along the perimeter may be more readily noticeable as “image loss” of greater proportion on smaller prints. Infrequently, the printing lab technicians will slightly enlarge the image to be printed and then cut the print according to the printing lab’s tolerances, resulting in additional “image loss.” Our customer may also notice “image loss” due to request to wrap photograph over the perimeter of the mounting substrate (as in canvas print over a stretcher bar), and when selecting a photograph to be traditionally framed (if not matted, the “rabbet width” partially masks ~1/4” of the photograph along each edge of the inner side of the frame perimeter as it supports the photograph; or the mat masks a small area along the perimeter of the photograph). If “image loss” is an issue and as part of the custom order, our customer (or a prospective customer) may request a bordered extension to be added to the photograph (white or colored space added along the perimeter to assure the entire image is printed. However, this choice may significantly affect the overall product size and pricing. To avoid a possible return, it is best to consider the importance of image detail along the perimeter before placing an order.

PHOTOGRAPHIC PRINTS

Photographic prints described below are non-inkjet prints that are “developed” using “wet chemistry.” Modern enhancements to paper base, emulsion coatings, and exposure to light help this time-tested print technology keep in step with the rapidly-evolving “inkjet printing” technology (see next section “Fine-Art Paper Prints” to consider inkjet prints). All photographic papers that we offer contain optical brightening agents (OBAs) and should be displayed in indirect sunlight to assure print visual quality does not prematurely decline (fades to more yellow color) due to relatively stronger UV radiation in proximity of direct sunlight or fluorescent-bulb lighting. For more information see “Displaying Prints” section of this “Selection Guide.”

Print Surface: the usual choice is to select between a glossy or matte print.

“Glossy Print” (glossy print surface) is what we often recommend to prospective customers who desire a photographic print with enhanced color saturation and higher contrast than a matte photographic print. The display location for a glossy print should limit “point sources/hotspots” of bright light from reflecting off a print [including reflections from more-distant source(s) of light brighter than in the display environment] to reduce the amount of mirror-like image(s) and/or glare that may block clear view of the print.

“Matte Print” (matte print surface) is often the best choice to reduce reflections and glare at the display location where the glossy print would ordinarily reflect “point sources/hotspots” of bright light that may block clear view of the print. Although relatively glare free (or with much-reduced glare) at the maximum reflection orientation, most matte surfaces on photographic papers are likely to contribute to perceived reduction in contrast primarily because of wider scattering of light (diffuse reflections). In order to maintain higher contrast at maximum reflection orientation, we generally recommend that prospective customers select printing on matte surface of the fine art paper (see next section) instead of matte surface of photographic paper. Fine-art paper print on matte paper (free of glossy coating) comes closer to achieving the matte/non-glare look than a matte coating that may be applied on top of some glossy photographic prints (or papers, rendering them more matte or silky). Furthermore, at reduced-glare orientations, fine-art paper prints on matte paper generally appear more similar to glossy photographic prints then matte photographic prints in terms of color saturation and contrast. However, when one considers that most prints will ultimately be displayed behind glass or acrylic (making matte prints appear more reflective), the matte surface may not be a priority. If an available choice, prospective customers may want to protect the framed matte (or glossy) print with “non-glare or reduced glare” glazing (made of acrylic or glass) that minimizes mirror-like reflections (neither choice is 100% glare free). However, the surface of “non-glare” acrylic disperses light that may be perceived to slightly lower both, the resolution of the photograph and its contrast while rendering glare “softer.”

“Fuji Deep Matte” photographic paper (Fujicolor Crystal Archive Professional Deep Matte Velvet) is characterized by non-glare matte surface (at any reflection orientation) with no visible texture noticed at typical viewing distance(s). When compared to both; glossy photographic prints, and fine-art paper prints in orientations where reflections are not an issue Fuji Deep Matte prints generally show significantly-reduced contrast (more so in the “shadows” rather than “highlights” part of the print).

“Metallic Photographic Paper” is our designation for “Fuji Pearl” (Fujicolor Crystal Archive Digital Pearl). This is a glossy paper with a metallic-base reflection most evident near the orientation with maximum reflection (slight silver tone/soft “metallic pearlescence” increases to maximum just before the glossy glare becomes more prevalent). The metallic reflection appears to brighten the photograph and its details. The most effective use of this paper is in bright display conditions (away from direct sunlight to limit exposure to UV light and buildup of excessive heat). We do not recommend it for medium to low-light display conditions because the metallic reflections would not be significant. Otherwise, it is very similar to Kodak Professional Endura Premier Metallic Paper (that is no longer being produced, but may be available).

“Premium Glossy” is our designation for a photographic paper (Fujiflex Crystal Archive Display Material) we are convinced to be the best for printing highest-quality glossy photographs. Its attributes (provided in part by the manufacturer) include: high durability and strength; most glossy photographic “paper” with high-clarity (similar to acrylic); suitability for wide-gamut color printing (with high color saturation); high “bright-white point,” tonality, and gray balance; and polyester-base material that adds to its archival properties (resists fading and yellowing). We recommend mounting this “paper” professionally because of the challenges necessary to keep it flat over a long period of time.

“HD Print” refers to a high-definition glossy print. Printing processes utilize laser-assisted technologies, above 300 dpi printers, and dedicated photographic papers (such as Fujicolor Crystal Archive Professional Paper Maxima, or Fujicolor Crystal Archive DP II) to achieve noticeably higher print resolution. Additionally, with higher print resolution and where reinforced by image data, HD prints can better resolve details within shades of similar color (more so with Fuji Maxima, which is known for, expanded color gamut and maximized dynamic range).

“Premium B&W” photographs (archival grade high contrast/high dynamic range “grayscale prints”) are printed on panchromatic photographic papers specially made for black-and-white (“B&W”) printing using ILFORD B&W papers (e.g., ILFORD Multigrade V RC Deluxe and ILFORD Gold Fibre Silk photo papers). The print surface is available as high gloss, pearl, or silky/semi-gloss with Baryta texture (fibrous texture; “Premium B&W-Baryta”). Additionally, high quality “B&W HD Prints” are available as “grayscale prints” on papers made for color or B&W printing; such as, Fujicolor Crystal Archive Professional Paper Maxima; or Fujicolor Crystal Archive Digital Pearl to enhance reflectivity. B&W photographs are received with our trademark displayed only on the backside of the mounting (due to trademark color commitments) and B&W copyright embedded into the photograph.

“Photo Wrap” refers to Metallic Photographic Paper print with satin laminate wrapped around foam-core mounting board (3/16-inch thick Gatorfoam® foam/board). It has a thin (~1/4 inch) profile and a smaller unprinted and unwrapped (second~1/2 inch, or 1.5 inch) black foam board in the back (“float hanger”) to serve as a wall mount. It is also available without a “float hanger,” and as Luster Photographic Paper print with glossy or satin laminate.

FINE-ART PAPER PRINTS

Although, some “fine-art papers”*7 are similar to resin-coated “photo papers” with inkjet receptive coating; most are made from natural fibers and/or wood pulp materials that include dedicated ingredients to help achieve and/or maintain high-quality, optimize color gamut, etc., and are suitable for inkjet (giclée) printing using archival-quality pigment inks. While some fine-art papers are available with perceptible texture (medium to coarse texture-size; using medium to heavy amount of texture), we do not recommend them unless these prints are framed and protected with glazing (glass or acrylic) to reduce the possibility of ink erosion due to abrasion related to shipping and handling or occasional dusting (if the print is not sealed). In most cases, the fine-art paper prints we recommend have a fine-texture size (smaller than important photo details); and if needed, with matte surface to reduce the amount of reflection that may otherwise overwhelm the glossy fine-art paper prints with glare (effectively blocking clear view of the print). Even so, we also offer fine-art paper prints with glossy, luster, and/or unique texture size/pattern. However, texture may not be readily apparent (due to glazing, lack of low-angle reflections, texture size, color and size of photo details, etc.). If the print is framed with glazing (to better protect the print) and if there is a need to maintain low reflection, we recommend choosing a matte glass or non-glare (matte) acrylic. Optionally, acrylic with special coating is available to increase UV filtering up to 99% for non-glare and glossy acrylic (e.g., Tru Vue® Conservation Reflection Control® or Conservation Clear®). Mounting options for fine-art paper prints include a firm mounting board [made of foam core (including 3/16-inch thick Gatorfoam® foam/board), Dibond® (polyethylene core inserted between two aluminum sheets), or Polystyrene (plastic)] that carries the print (that may be framed), and a mat (optionally available in different colors to fit the area between the frame and a print). To consider framing options, see “Frames” section (below). Please note that some fine-art papers contain optical brightening agents (OBAs) and should be displayed in indirect sunlight to assure print visual quality does not prematurely decline (fades to more yellow color) due to relatively stronger UV radiation in proximity of direct sunlight or fluorescent-bulb lighting. For more information see “Displaying Prints” section of this “Selection Guide.

“Kodak Professional Paper Inkjet Color (or B&W) Print” refers to an image printed on resin-coated photographic paper (Kodak Professional Inkjet Photo Paper DL) specifically dedicated for use with “inkjet technology.” It is printed with archival-quality inks; thus, we consider it an acceptable addition to archival “fine-art inkjet papers” category. It is available with luster (“lustre”) or glossy coating. Manufactured with Optical-Brightening Agents added to paper.

“Fine-Art Color Print”refers to an image printed on fine-art paper. Fine-art papers can add texture (e.g., Hahnemühle William Turner) and reflectivity (“Fine Art Metallic Inkjet Print,” e.g., Hahnemühle Photo Rag Metallic or Moab Slickrock Metallic Pearl) to the print.

“Fine-Art B&W”refers to an image printed on fine-art paper using black ink and/or shades of “gray.“ Fine-art papers can add texture (e.g., Hahnemühle William Turner) and reflectivity (“Fine Art Metallic B&W,” e.g., Hahnemühle Photo Rag Metallic or Moab Slickrock Metallic Pearl) to the print. B&W photographs are received with our trademark displayed only on the backside of the mounting (due to trademark color commitments) and B&W copyright embedded into the photograph.

“Deckled Edges” refer to hand-torn edges along the perimeter of a fine-art paper print that may be perceived more artistic than a bordered (or borderless) print with smooth edges. Adding a border (unprinted paper space around the print) to a print to be deckled (along its outer border) is recommended because the deckled border does not reduce any part of a printed image. We also recommend framing it with a mat and glazing or within a “float frame” to bring more attention to deckled edges. Deckled edge prints are typically received with slightly reduced image size (have slight “image loss” if they are borderless) due to hand-torn edges, or may be slightly reduced in size to accommodate the “gap” between the frame and a “floating” deckled-edge print.

*7 The following is a list **** LIST NOT READY TO BE PUBLISHED ***** of some of the most popular fine-art papers that we select from (or the prospective customers can select from when configuring a custom order) to print our images. Often asked supplementary information for each fine-art paper listed is displayed as part of an accompanying data table **** DATA TABLE NOT READY TO BE PUBLISHED ***** (compiled from our observations, various internet resources, and manufacturers’ data). When we select a fine-art paper we heavily rely on our test prints for each paper (and other data, in part shown on the table below) knowing that (from experience) some images are better suited for printing to a smaller group of fine-art papers or a specific fine-art paper to achieve a desired look (approved by the photographer). Our recommended fine-art paper choice(s) for a specific image (or related images) is(are) listed within merchandise description found via the “Shop” page and/or “drop-down” merchandise-selection menu.

PRINTS ON CANVAS

All of our prints on canvas*8 (“canvas prints”) are printed on a high-quality canvas material that include some combination of dedicated coatings to help achieve and/or maintain high-quality, optimize color gamut, etc., and are suitable for inkjet (giclée) printing using archival-quality water-resistant pigment inks. These prints have limited resistance to water, dust, and UV light (treat them with utmost care).

Mounted canvas prints can be ordered with matte, luster, glossy, or metallic surface to enhance and protect the print. Canvas-texture reflections increase significantly with luster laminate and show as relatively high sheen when glossy laminate is applied (producing speckled glare at narrow to medium reflection angle with the source of bright light). Mounting options for prints on canvas are foam-core mounting board (3/16-inch thick Gatorfoam® foam/board to fit inside a frame or canvas wrapped around 3/16-inch thick Gatorfoam® foam/board with optional float hanger) and canvas stretcher-bar frame made of wood (with additional hanging options) that can be ordered to fit inside a “Float Frame” (see “Frames” section below). Please note that some canvases contain optical brightening agents (OBAs) and should be displayed in indirect sunlight to assure print visual quality does not prematurely decline (fades to more yellow color) due to relatively stronger UV radiation in proximity of direct sunlight or fluorescent-bulb lighting. For more information see “Displaying Prints” section of this “Selection Guide.

Ordinarily, canvas prints are wrapped around canvas stretcher-bar frame and are available in different frame depths (perpendicular dimension, 0.75, 1.5, or 2.5 inches to the wall). Although canvas wrapped around stretcher-bar frame can be wrapped such that printed image also appears along the entire frame depth (“Gallery Canvas Wrap”), we usually have the entire print fit within the facing part of the frame such that the wrapped canvas along depth of the frame remains unprinted; it shows “canvas white” (or custom color; “Gallery Canvas Wrap with Solid Color Sides”).

Custom order may include printed canvas with satin laminate wrapped around foam-core mounting board (3/16-inch thick Gatorfoam® foam/board). It can be ordered with a thin (~1/4 inch) profile (“Thin Canvas Wrap”), or a slightly thicker (~1/2 inch) profile with soft padding and slightly-rounded corners (“Soft Canvas Wrap”). An unprinted and unwrapped (second~1/2 inch, or 1.5 inch) black foam board is secured in the back (“float hanger”) to serve as a wall mount.

“Premium Matte Canvas” is our designation for a high-quality matte canvas (Moab® “Anasazi® Canvas Premium Matte 350”) we are convinced to be the best for printing photographs on canvas. We often list it as a default option with our limited-edition photographs. Its attributes include: flexible matte surface; suitability for wide-gamut color printing; exceptionally high “white-point,” tonality, and gray balance; acid-free polyester/cotton (2x1 weave) canvas with a water-resistant topcoat. It is manufactured with moderate amount of Optical-Brightening Agents added to paper. Premium canvas print is usually available as “Gallery Canvas Wrap with Solid Color Sides” using 1.5-inch frame depth (showing solid color). However, some of our photographs may be available to be wrapped along the entire frame depth (“Gallery Canvas Wrap”) if the important image details remain within the facing part of the frame.

*8 The following is a list **** LIST NOT READY TO BE PUBLISHED ***** of high-quality canvases that we select from (or the prospective customers can select from when configuring a custom order) to print our images. Often asked supplementary information for each canvas listed is displayed as part of an accompanying data table **** DATA TABLE NOT READY TO BE PUBLISHED ***** (compiled from various internet resources and manufacturers’ data). When we select a canvas we heavily rely on our test prints for each canvas (and other data) knowing that (from experience) some images are better suited merchandise description dedicated to each image found on the “Shop” page. for printing to a specific canvas. Our recommended choice(s) is/are part of our

ACRYLIC PRINTS

The prints face-mounted to acrylic generally have a relatively smooth surface that can be readily sealed to the acrylic glazing. Acrylic prints refer to glossy photographic prints, or fine-art luster (semi-glossy) and metallic photographic prints, “face-mounted” to ~ 0.08”, 0.125”, 0.16” or 0.25-inch (~ 2, 3.2, 4, or 6.4 mm) acrylic (plexiglass) sheet and “back-mounted” to Dibond® (polyethylene core inserted between two aluminum sheets). Acrylic glass is available in glossy (“Glossy Acrylic”) and with matte texture for a non-glare effect (“Non-Glare Acrylic”). Typical wall-mounting hardware options include cleat hanger, inset-aluminum subframe hanger, inset aluminum-subframe rails, and corner posts. Additionally, acrylic prints with Dibond backing can be framed, including a metal frame (“Dibond Frame”) that effectively covers the Dibond®-panel profile and adds a unique appearance to the acrylic prints (see “Frames” section below). We recommend metallic print (photographic or fine-art) back-mounted to Dibond, and face-mounted to non-glare acrylic to display in an area where ambient reflections may otherwise overwhelm glossy acrylic with distracting reflections (showing as glare or mirror-like images of surroundings). However, the surface of “non-glare” acrylic disperses light that may be perceived to slightly lower both, the resolution of the photograph and its contrast while rendering glare “softer.”

Some papers used in “Acrylic Prints” contain optical brightening agents (OBAs) and should be displayed in indirect sunlight to assure print visual quality does not prematurely decline (fades to more yellow color) due to relatively stronger UV radiation in proximity of direct sunlight or fluorescent-bulb lighting. However, 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. For more information see “Displaying Prints” section of this “Selection Guide.”

We offer the following Prints face-mounted to acrylic:

“Metallic Print face-mounted to Acrylic,”

“HD Print face-mounted to Acrylic,”

“Fujiflex Print face-mounted to Acrylic,”

“Ilford B&W Print face-mounted to Acrylic,”

“HD Fine-Art Print face-mounted to Acrylic,”

“Exhibition Fine-Art Print face-mounted to Acrylic,”

“Fine-Art Metallic Inkjet Print face-mounted to Acrylic,” and

“Premium Print face-mounted to Acrylic.”

“Premium Print face-mounted to Acrylic” is our designation for (“Lumachrome® HD” Acrylic Print) a high-gamut transparency print face-mounted to acrylic and back-mounted to white resin-coated paper (supported by Dibond®, or Acrylic, or Komatex®). The transparency layer is infused with metallic particles to help enhance print details while glossy TruLife® Acrylic layer provides: ~99% UV protection, anti-static surface (for better dust control), abrasion resistance, and reduced glare due to its special coating. Wall-mounting hardware is optional, or it includes inset-wood subframe (0.75” or 1.25” depth) with either cleat hanger or wire hanger. When illuminated with UV light, this product does not “glow,” that is, OBAs brightening is reduced by highly effective UV protection.

ACRYLIC CARE

When cleaning acrylic, we recommend you first blow the dust off the surface, then (for best results) apply a product dedicated to cleaning of acrylic glass, and finally (using low pressure) wipe it clean with a microfiber cloth. In contrast, using paper towels will easily scratch acrylic (acrylic is a lot easier to scratch than glass), and the use of ammonia-based cleaners will be detrimental to acrylic.

Direct to METAL Prints (sub-framed or traditionally framed)

“Direct to Metal Prints” are printed to either an aluminum panel (“Metal Prints”) with an ink-receptive base coat, or to Dibond® aluminum (“Direct to Dibond Prints”) with additional top coating(s) applied during a post-printing process. They are both available printed in color or B&W. Brighter parts of the metal print can be largely attributed to light reflections from the aluminum substrate (below the ink), rather than from use of Optical brightening agents (OBAs).

METAL PRINTS

Metal prints are printed on (about 1 mm thick) ChromaLuxe® aluminum sheets. Thermal dye-sublimation printing process makes “Metal Prints” waterproof, scratch resistant, easy to clean and one of the most archival photographic merchandise our prospective customer can buy. Metal prints are available with high gloss and mid-gloss surface coatings, or the aluminum surface is horizontally “brushed” to enhance texture and let metal grooves reflect light (more so within lighter-colored print areas at the maximum reflection angle) that is discernable through surface coatings as “translucent luminescence” (sheer glossy metallic look). If they are displayed in an area (indoor or outdoor) that receives direct sunlight, we recommend additional UV coating (“UVX Metal Print” available with high gloss, or sheer glossy surface) for extra protection (to slow down print fading due to UV light).

Metal prints can be supported with ¾-inch deep inset-aluminum subframe (black/silver, with French cleat as part of the hanging hardware); 1.25” deep inset-aluminum subframe (black/silver, in part used as hanging hardware), and corner posts (for large prints). Additionally, Metal Prints can be mounted to wood (such as bamboo panel with integrated keyhole mount); framed tightly with 1.25” deep aluminum (“flush metal frame”); traditionally framed with no need for glazing, or secured within a “float frame” (wedge or a slim float frame; see “Frames” section below).

The perimeter edges and corners of unframed metal prints are sharp, so please take all the necessary precautions while handling metal prints. When deciding where to display metal prints, consider to avoid areas where the print, if it were to fall, would make contact with persons or valuables. Furthermore, consider selecting a metal print with 1/8-inch or 3/16-inch rounded corners (if they are supported with inset-aluminum subframe).

DIRECT to Dibond® PRINTS

Direct to Dibond® prints are printed directly to top aluminum layer of a 1/8-inch (~3 mm) thick Aluminum-Composite Panel “ACP,” same as Dibond® (a “sandwich” of two thin aluminum layers and a black synthetic core). UV fine art pigment inks used are resistant to water and UV light (UV-hardened ink protects the print and slows down print fading due to subsequent sources of UV light). These prints have a glare-free matte surface with a faint silky gloss noticeable in the bright areas. They are suitable to hang in outdoor sheltered areas or indoor humidity-prone areas. Optionally, Direct to Dibond® Prints are available printed on horizontally “brushed” silver or gold panel (“Direct to Brushed Dibond® Print”) to enhance texture and let metal grooves reflect light within ink-free areas (and lighter-colored print areas). Reflected light (primarily at the maximum reflection angle) enhances the view with metallic sheen (in gold or silver) while the rest of the print maintains a matte surface. Direct to Dibond® prints can be supported with inset aluminum-subframe rails (in part used as hanging hardware), corner posts (for large prints), or they can be framed (see “Frames” section below).

FRAMES

If a frame*9 is included in the merchandise description (or itemized) as part of our customer’s order, we request the printing lab to mount customer-selected photograph to the frame our customer had purchased, and ship it “ready to hang,” or with additional wall-mounting hardware included (if necessary, based on printing lab’s recommendation or customer’s choice). Here we show some of the more frequently used frames we consider appropriate complement to our mounted photographs. Prospective customers may prefer a different frame (or custom selection) than what is currently available via our “shop” page, and if so, contact us and we will do our best to help. Alternatively, prospective customers can purchase a mounted photograph without frame and hanging hardware, and subsequently use their local frame shop (or their own resources) to procure a frame. Please be aware that if an order includes a frame, it will be filled with a frame that exceeds the dimension of the image (or border, and/or accompanying mat sold).

Although infrequently shown in our sample images (below), some frames are available in different widths and depths, as well as different colors, materials, and with other features. The following is a partial list of frames and frame types (shown below) that we would like to describe; followed by detailed list at the end.

“Inset Frame” is a rectangular aluminum subframe installed on the back of the mounting panel that functions as safe and strong wall-mounting hardware. It is smaller than the mounting panel and provides an off-the-wall (0.75” or 1.25”) parallel displacement of mounted and/or framed photograph to make it appear as “floating.” This frame is not visible when viewing the photograph from the front.

“Dibond Frame” effectively covers the (“light/dark/light) “layered look” of the Dibond® panel profile and adds a unique appearance to the acrylic prints (see “Acrylic Prints” above). This aluminum frame is ~1/4 inch (6 mm) deep and the acrylic glass shows partly above the frame (~1/16 inch above for 1/8-inch-thick acrylic). The available frame colors are silver, gold (with matte finish), black (with matte finish), and white (with glossy finish). The 1 mm thick frame is sealed with silicone to the Dibond® panel and the inset aluminum-subframe rails attached to the back of the panel serve as a hanging system that provides the “off-the-wall” displacement.

“Acrylic Frame” is made from transparent acrylic material that shows different luminosity near the frame (3 mm wide) edges and is available in vivid (“neon”) colors such as red, orange, green and blue, for a modern look. It is also available in glossy acrylic as opaque black or opaque white. Currently, we offer this frame in 12”x16” or 16”x24” (1” depth) size. Additionally, to achieve a “float frame” effect, the photograph is mounted 4 mm from the frame edges.

“Float Frame” is available in different sizes, shapes (wedge, slim box), and materials such as aluminum and wood. A notable feature of a float frame is that the photograph is mounted inside a frame with a small gap (“shadow gap”) that shows the photograph as “floating” inside a frame.

“Metal Frame” is made from aluminum. We generally use silver and black that are available in different depths/widths. Nevertheless, white, gold, and brown colors are also available. Metal frame can fit tightly around a photograph or with a small gap between the frame and the photograph (as in “Float Frame”). See “Dibond Frame” (above) for additional metal-frame options.

“Wood Frame” is made from wood such as alder, oak, maple, basswood, and may have varnish or paint applied to appear in different colors (black, white, brown, walnut, etc., unless the word “natural” is part of the description). One example is a “Barnwood Frame” made from naturally-aged wood collected from old barns and may contain age-related and man-made “imperfections” that may show as nail holes, uneven and rough surfaces, discolorations, etc., (this is not a frame we recommend to customers who demand perfection).In contrast, “Rustic Wood Frame” is not made from naturally aged wood, but instead, it is made from wood whose surface is made to look “rustic” with some combination of designs, textures/abrasions, veneers, and paint/varnish. For more information about different frames, see the list of frames (below).

*9 The following is a list **** LIST NOT READY TO BE PUBLISHED ***** of frames that we select from (or the prospective customers can select from when configuring a custom order) to frame our print. Often asked supplementary information for each frame listed is displayed as part of an accompanying data table **** DATA TABLE NOT READY TO BE PUBLISHED ***** (compiled from various internet resources and manufacturers’ data). When we select a frame we heavily rely on our sample for each frame (and other data) knowing that (from experience) some prints are better suited for framing to a specific size and type of frame. Our recommended choice(s) is/are part of our merchandise description dedicated to each image found on the “Shop” page. Until we are ready to publish our list/data, you may use this external link to a website showing frames that can be used when framing our photograph ( https://ezphototemplates.com/wall-displays/framed-prints/framed-matted-prints_only ).

GLAZING

One of the best ways to protect photographic and fine-art paper prints against dust and damaging UV light is to add glazing (glass or acrylic with UV protection) to your framed prints. Although fine-art paper prints use high-quality papers and inks, it is best to have more UV protection and dust control to minimize fading and to maximize protection of water-resistant inks. Compared to acrylic, glass is less problematic to clean, but it can break relatively easy upon impact.

Typically, glazing is available as glossy acrylic, or non-glare acrylic (both, with or without high UV protection e.g., “Tru Vue®”). The surface of “non-glare” acrylic disperses light that may be perceived to slightly lower both, the resolution of the photograph and its contrast while rendering glare “softer” (glare reflected shows speckled texture). Alternatively, “Museum Glass” (thin glass, much like camera filter) may be available for framed and matted prints that provides moderate UV filtering and high anti-reflection to maximize contrast (e.g., “Artglass™” or “Mirogard®”; glare reflected is well reduced and it may be perceived slightly tinted, usually as light green).

When cleaning acrylic, we recommend you first blow the dust off the surface, then (for best results) apply a product dedicated to cleaning of acrylic glass (or small amount of mild soap with lots of water), and finally (using low pressure) wipe it with a clean microfiber (or soft) cloth using a circular motion. In contrast, using paper towels will easily scratch acrylic (acrylic is a lot easier to scratch than glass), and the use of ammonia or alcohol-based cleaners will be detrimental to acrylic.

In addition to glazing, do not overlook to protect your prints against bright-light extremes (primarily direct sunlight), atmospheric pollutants (such as ozone), excessive heat, and humidity deviating from your typical environmental conditions (including when you are not there to enjoy them).

BORDERS and MATTING

Borders and archival-quality (acid-free, lignin-free) matting*10 can be added to a photograph to create contrast (as in white mat with black frame) to bring more focus to the photograph or to provide transition color that may enhance the look of the photograph, frame, and the surroundings. Borders and mats are available in different widths and colors. Border can surround (and be in contact with) the photograph as additional (single-color) ink (or ink-free) area extending the print size. The border can effectively eliminate the need for a mat, or assure the entire photograph can be seen. In contrast, the mat is a thin single-colored board that (usually) fits between the glazing and photograph. It provides mounting substrate for the print to be framed and an enhanced “focus” toward the photograph. Mat and/or border add extra dimensions to the merchandise while the selected photograph size remains the same (Note: the merchandise price increases commensurate with the size of all the components other than photograph). The brightest white mats are usually manufactured with Optical-Brightening Agents added to paper. For more details regarding OBAs, see “Displaying Prints” section of this “Selection Guide.”

Although infrequently shown in our sample images, some mat colors are available in different (and yet similar) colors, materials, and textures. The following are types of mats that we would like to describe; followed by detailed list of mats at the end.

A “Double Mat” option may be available. The main/outer mat (next to the frame) provides a “step-up” from the second mat (inner mat surrounding the photograph). The “step-up” transition shows an angled-cut perimeter, exposing the typical white substrate color. The second mat frequently provides a different accent/contrast color than the main/outer mat color and it is typically smaller width. Similarly, the second mat provides a “step-up” from the photograph.

“Double-Depth Mat” is twice as thick as commonly used mat. It is mostly available in a shade of white color(s).

“Linen Mat” has a linen texture embedded at top of the mat and appears unique compared to non-linen mats. Linen mats are 2 mm thick and available in white, ivory, and black colors.

*10 The following is a list **** LIST NOT READY TO BE PUBLISHED ***** of mats that we select from (or the prospective customers can select from when configuring a custom order) to frame and mat our print. Often asked supplementary information for each frame listed is displayed as part of an accompanying data table **** DATA TABLE NOT READY TO BE PUBLISHED ***** (compiled from various internet resources and manufacturers’ data). When we select a frame and mat(s) we heavily rely on our sample for each frame and mat (and other data) knowing that (from experience) some prints are better suited for matting to a specific color combination, size and type of mat(s) accompanying a frame. Our recommended choice(s) is/are part of our merchandise description dedicated to each image found on the “Shop” page. Until we are ready to publish our list/data, you may use this external link to a website showing frames and mats that can be used when framing and matting our photograph ( https://ezphototemplates.com/wall-displays/framed-prints/framed-matted-prints_only ).