Digital Prints

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Mastering Digital Printing
These—and other—problems caused amateur photographer Mark Rogers to start his own
framing business (www.framedestination.com). “I was really frustrated with the lack of
frame sizes for 13 × 19 and other print sizes from the usual suppliers,” Rogers explains. “I
also found it hard to find standard-size frames that would help reduce fading and not cause
yellowing. So I decided to offer these products for fine-art photography.” Rogers currently
markets acid-free, conservation-quality frames in wood or metal, complete with CYRO
acrylic glazing and Artcare-treated Bainbridge mat/mount components.
Glazing: Glazing means glass or acrylic (Plexiglas is one example) when you’re talking
about framing. Both types come in plain UV-filtering, anti-reflective or non-glare, and
abrasion-resistant versions. With glass, the UV-filtering type is preferred except it’s much
more expensive than regular glass. As we’ve learned, even plain clear glass will block much
of the UV radiation hitting a print.
Glass and acrylic each have their followings. Acrylic is lighter, more expensive, scratches
easily, and is a magnet for dust and lint, but it’s the best choice if you’re shipping prints or
if used in high-traffic or dangerous areas like a child’s room. Also, some museums prefer
acrylic since it’s safer for priceless artwork; it will not shatter and cut the art when dropped.
Framing Tips
■ Never let a print touch the glass in a frame. Why? Some inks and emulsions can react with
the glass and get permanently stuck to it. Also, if condensation ever forms on the inside
of the glass, the water could damage the print. Either use a mat or frame spacers to create
a gap between the glazing and the art.
■ Always use acid-free (and lignin-free) materials in all phases of the framing process. That
goes for mats, backing boards, and the hinging or adhesive material. Much of the commercial
framing done before 1980 used poor-quality materials; replace all such frames and
materials.
■ Isolate any questionable material from important prints with sheets of glassine or wax
paper. A very common questionable material is any wood frame, since it would naturally
contain acidic pulp products.
■ Don’t use acidic brown barrier (Kraft) paper on the back of a frame to seal against air and
dust. Use instead conservation/archival-quality paper, or in a pinch, white butcher paper.
■ Make sure your prints are completely dry before framing. This can be anywhere from 24
hours to several days depending on the inks and media used.
■ Periodically open up your framed prints (five years is a good target) and clean them thoroughly.
Replace any problem components.
Framing Alternatives
There are now many alternatives to the traditional picture frame approach to digital print
display. Here are just a few:
Unusual Frames: Feeling like breaking away from the standard frame shop selection?
Photographer-artist Konrad Poth makes his own frames from recycled wood from old
barns and fences. Globe-trotting photographer S.R. Aull spends a year photographing a