Fine Art Prints in off-white folders

There are no set rules when it comes to buying photographic prints, preparation and presentation are mostly subjective by the artist and the collector. In this guide, I will cover the basics for first-time buyers, understanding the terminology and making it less intimidating.

Types of photography prints

Some photographers still practice traditional hand processing in a dark room. However, today’s contemporary fine art photography prints tend to fall into two categories: C-Type and Giclée. The C-Type is a traditional photographic print, made from a digital file rather than a negative. It uses technology that exposes the digital image onto the paper with the use of lasers or LEDs.  The exposed paper is then placed in a developer, followed by a bleach fix before being washed to remove the processing chemicals.  Museum-quality C-Type paper if properly taken cared of can retain the quality of the image for up to 100 years.

Giclée is used to describe a digital printing process combining pigment based inks with high-quality archival paper.  The printing process involves squirting or spraying microscopic dots of pigment-based ink onto archival art paper, cotton rags or canvas.

Limited and Open Editions

In the earlier days, plates were used for making prints be it original prints from etching or reproductions of original work such as paintings. An edition is the number of prints made from one plate. As plates degrade through use so does the quality of the print and to control the quality the print size was limited. Due to the quality variation, the lower-numbered prints were perceived to be higher quality than the ones nearing the end of the edition.

While the quality of a photograph does not deteriorate by the number of prints and there is no need to limit the edition, galleries and auction houses applied the numbering and edition system to selling photographs as collectables. This concept was to create scarcity which added value to the photograph. The photographer is usually involved in the printing process and will inspect the work personally before signing his name on the piece. A photography print while not one of a kind, is still an original work of art.

When a limited edition print is numbered it shows both the number of the print and the total number of impressions in that particular edition. An example of “4/20” means that the print is #4 of a limited edition of 20 prints. You may also notice an abbreviation A.P. (Artist Proof) next to the numbering. This originated as test proofs prior to printing the edition. Today the artist proof is a good impression of the finished work identical to the numbered copies and the quantity will be indicated next to the edition numbering. For example, “4/20 + 2AP” indicates only two artist proofs exist or will be made. Artist Proof copies normally do not exceed 10% of the total number of the edition. The main purpose of reserving an artist proof is that once the edition is sold out the artist still has a print available for exhibitions or donations.

The size of the edition affects the value of the print. The lower the number of the edition the more collectable the work is thus increasing its value. So, for example, an 8×10 inch photograph with a limit of 50 prints might sell for $250 but if the edition was limited to 20 the same photograph will then sell for $650. It is the objective of the artist or representing gallery to set a limit for a particular size photograph that can eventually sell out and this depends on how famous a photographer is. A new and upcoming artist may only have an edition set at 20 for the most as being practical. As numbers from the edition are sold the remaining numbers increase in value.  As an investment advantage, it is best to buy early.

Photographs are open edition when there is no set or guaranteed limit to the number of prints and are categorised as posters. Photographs can also be considered “vintage” if they are printed close to the time they were taken.  The age as well as the materials and the process of making it changes or are no longer available, making the image unique and increasing its value.

 Framing Prints

Framing styles and tastes vary dramatically so this section covers only the basics when making an order. The three choices are unframed, matted and framed.

In most cases, the print size refers to the size of the paper and not the size of the image. The print also has a white bordering around the image referred to as a float. Many times the base of the float will be wider than the top and side margins. It can serve as a space for placing the artist signature if desired. The other reason is that when looking at an image, the eye tends to centre higher up than the actual centre of the image. By creating a larger bottom margin, the eye is drawn more to the physical centre of the image creating a visually pleasing effect.  The float also allows for the overlap of the window mat that is placed on top of the photograph and prevents any part of the image from obstruction as it “floats” within the window of the mat.  If the artist does not sign on the front of the photograph, then they will sign and number at the back of the photograph.

The matting sometimes referred to as “window mat” is a border that surrounds and supports the print. The mat plays two very important roles in framing, protection and presentation. The print is placed between the window mat and backing board which protects it from contact with the glass or any other materials within the frame. The matboard is a type of paperboard made specifically for picture framing and is acid-free. Acids form materials can cause photographs to become yellow and cause other forms of damage over time. Some artists sign on the mat, but if there were a need to change the mat, the signature would be lost. For this reason, it is good for an artist to sign on the float.

Certificate of Authenticity for a photographic print.

You can run wild when it comes to the choices of frames but if you intend on collecting photography prints, keeping it consistent is the best advice. A plain black or white frame with a white mat is best. It allows the print to be used in any room and if displayed together, looks less busy, gives a sense of balance and helps draw the viewer’s eye more on the image itself. When having to decide if to use Plexi, non-glare glass or plane glass, keep in mind that Plexi and non-glare glass even though they reduce glare, also alter the colour balance and distorts the image. So while plane glass will have some effects of glare, you may not want to compromise on the picture viewing quality.  A certificate containing all the relevant information about the print and signed by the artist is placed at the back of the frame. It is a guaranty by the artist that the number of prints will not exceed the edition.  If you ordered an unframed or matted print, this certificate would be provided separately or in some cases affixed to the back of the photograph.

If you have questions or would like a special request, contact the artist before making the order. In many cases, they are quite flexible and can advise accordingly. Hope I have made your choice of buying a photograph less intimidating. While you are here, have a look at my fine art collection of limited and open edition prints. Enjoy.