In providing the finest photographs to our clients we insist in offering the highest standard of conservation framing. In addition, we carefully consider aesthetic importance when making the frame choice for each photograph. Each element complementing each other, bringing together the ideal presentation for fine photography.

When Helen Gee opened Limelight in Greenwich Village in 1954, the first photography gallery in the country was born. The exhibited photographs were not so neatly pinned, tacked or taped to the walls! Today's recognized Masters of photography including Ansel Adams and Edward Weston all exhibited there with little consideration as to by what means their work would hang. Framing costs: $0.

Today, framing shops for the photographer abound. There is a seemingly endless selection of mat colors and molding styles to choose from. A recent visit to a framer provided me with no fewer than seven options for glazing. Back at Limelight, photographers didn't even use glass. The current price for sensible framing of photography can start at $60 and go quickly to several thousands of dollars.

Framing: The Science

In the days of Limelight, there seemed to be little interest in archival concerns. Photographs by Adams sold for $25 when they did sell. The market had not been formed and little attention had been given to the long term preservation of photography.

Today, it is so very important that your treasured photograph sit in a comfortable and safe house. Any material directly touching the photograph must be acid free. This includes the mat board and any materials used to secure the photograph to it.

If the photograph is being directly attached to the mat board, vegetable paste and Japanese tissue is preferred over traditional linen tape. Linen tape must be activated with water, which may be impure, contaminating the photograph. More importantly, the adhesive on linen tape may adversely affect the photograph. Linen tape is removable, but not easily. It can often leave a residue or tear some of the paper fiber during removal.

An archival backing should be placed behind the matted photograph for further support. Acid free foamcore is a good choice, but not the only one. There is also an inert corrugated plastic, Coroplast that acts as a good support.

In the past, glass seemed a natural choice for glazing. There wasn't much else to choose from. Today, there is no reason to use ordinary glass on a framed piece of artwork. For one, glass will cast a greenish film onto your photograph and mat. For a few dollars more you can use low iron or water white clear glass, which provides incredible clarity.

For framed photography that may be moved often or for those living with the potential of an earthquake, Plexiglas is a safe alternative. When I lived in San Francisco, all of my photographs were framed in Plexiglas for their safety.

The glare that glass or Plexiglas posses can often encumber the viewing of wonderful photography. This is especially true when viewing photographs that are exceptionally dark. The only thing we see is the reflection of ourselves trying desperately to view the detail in a wonderful shadow area, about Zone II. To overcome this obstacle, there is non-reflective glass. This is a glass with a coating of non-reflective material on both sides. It inhibits direct reflection, allowing a very clear view of the photograph. In some light, it does cast a blue-green reflection, but this is minor. The trade name is Denglas.

A photograph is born from light, but can also die from it. So many wonderful examples of the medium have literally disappeared from sight due to an over exposure of UV light, usually from sunlight, although not exclusively. Florescent and incandescent light also emit harmful UV radiation that can destroy the fragile image.

It is my recommendation that all photographs be placed behind UV protective glazing. True, some photographs are inherently more stable than others and may retain their original appearance for years. But when I look at many faded examples from the 19th century, I can only imagine their original appearance. If those photographs had been placed behind UV glazing from the outset, their current appearance may have been dramatically different.

Invest in the care of your photograph. There is a UV glazing affordable to everyone. Glass, Plexiglas and even a non-reflective glass all are offered with UV protection alternatives.

My choice for glazing is Museum glass. It has the non-reflective properties of Denglas while providing UV protection. Although not a must in every situation, it certainly provides the most safe and enjoyable viewing experience.

Framing: The Art

Mat color should be chosen wisely. All photographs whether black & white, color or somewhere in between have a tone, a degree of warmth. When picking a mat color, I choose white in variations of warmth from bright white to creamy. I avoid any color other than white.

A mat color must be chosen to match the warmth of the print. It need not match exactly. Sometimes an over warm mat will brighten the highlights of a photograph while a brighter mat might bring out the subtle warmth of a print previously unnoticed.

Not too long ago 8ply mats were used only on special or expensive pieces. The 4 ply mat was most common for basic framing. There is very little reason not to consider an 8ply mat. In some cases an 8ply mat's thickness may compete with the fragile nature of the subject, but I have found the 8 ply mat to distinguish and give appropriate presence to most photography.

Now that the photograph is packaged in an archival manner and the appropriate glazing has been chosen, it's time to consider the frame itself.

After thumbtacks and tape, photography took the leap into metal frame sectionals. An easy alternative for the do it yourself photographer. They can be assembled easily at a very low price. Choice of styles and colors have increased recently, but for the most part, provide a limited alternative to superior hand rubbed wood moldings.

Choosing the right molding can seem daunting, but to the experienced eye of the framer, matching your photograph with the right wood, profile and stain will give you an even greater degree of appreciation of your work of art.

Framing: The Collaboration

I work with several skilled framers from coast to coast. It is a collaboration between the two of us and the visual voice of the photograph. The correct proportions must surround the photograph so the piece seems complete. The molding should not compete, but compliment the visual character of the photograph. The color of the frame should be in tune with the tones, supporting the visual presence of their range.

Each photograph in our inventory is framed with the individual concerns of that piece. We do not use a standard size or stock molding to homogenize our presentation. Each photographs deserves a unique setting in which to thrive.

If there is a uniformity in the work, there may be a uniformity in the frame choice, but that's merely a reflection of the consistent vision that a photographer has chosen with his or her work.

We are at your service in providing the best suited frame for your purchases of fine photography.

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