Douglas Stockdale
Photographer
Photographer
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Matting and Framing Photographic prints:
Overview:
Photographs are very fragile and the image and supporting structure can be easily scratched,
dented or wrinkled. Your photographs should be handled similar to other fine art prints; which is to
handle them very carefully.
Your exhibition quality prints have been made by Douglas Stockdale with great care, using methods
and materials that contribute to permanence. If stored under favorable conditions and protected
from physical or chemical damage, they should last beyond 100 years.
We highly recommend that any materials that you bring in near contact to the photographs be
archival materials. Archival materials are designed to not harm or attack the artwork, and are used
by Collectors & Museums to preserve the condition of the photographic prints.
Your print can be affected by insects, water, humidity, atmospheric gases, temperature, and light,
especially UV (Ultra Violet) light. Insects like to eat the print substrate. Water and high humidity (over
60% RH) can create mold and mildew on the print. Atmospheric gases, e.g. smog and other
pollutants can also affect the print. High temperature (e.g. over 100ºF) can premature age the print,
and cause the print to become brittle and can create a potential for subsequent physical damage.
Direct sunlight can also damage the print and fade the image.
Storage:
We highly recommend that you take the following storage conditions into account:
Temperature: not to exceed 90ºF
Humidity: not to exceed 65% and should not be less than 20% Relative Humidity (RH)
Light: Do not store (or display) in direct sunlight, due to UV light damage to the print.
Keep print on archival backing, and maintain an archival slip-sheet over the image
When storage images flat (horizontal) ensure level and caution of placing anything on top of the
print.
Handling:
We recommend that the prints are best handled by holding the backing board that the print is either
held in place by the clear corners or possible archival mounted. We recommend that when handling
the prints; that clean, white cotton gloves be used, or at a minimum that your hands have been
thoroughly washed prior to manual handling the print by its edges. The oils and other residues in
your hands and finger tips can compromise the print quality.
Do not allow liquid adhesive, rubber cement or pressure sensitive tape, such as masking tape, to
come in contact with either side of the print.
Display: Framing & hanging:
Your print can also be further enhanced and protected by the selection of frames, mattes and
glazing (e.g. glass or Plexiglas, also know as Acrylic) for viewing.
Frames:
Frames are broadly classified in two types, wood and metal. You have the most options in design,
color and presentation with wooden frames.
For wooden frames, at a minimum you need to select a wide enough frame that has sufficient
carrying capability for the amount of weight that will be in the frame. Glass glazing can become very
heavy in larger frames.
Another precaution with wooden frames is to ensure that the finish on the wood has dried sufficiently
before assembly with the print. Many of the varnishes and other solvents used for the preparation of
the wooden frame that continue to come off the frame surface can damage your print.
Mattes:
Your print can be further enhanced by the selection of over mattes for your print. We highly
recommend that you select archival acid-free materials (also know as Museum framing) for your
mattes or for any materials that might be in contact with your photograph.
Mattes can be chosen to complement the photograph or to complement your interior decorating,
and many times, both. We have found that a double matte can provide an excellent visual
presentation of your artwork.
A Matte will also keep a safe separation of your photograph from the glass surface.
Glazing (Glass or Acrylic/Plexiglas):
We also highly recommend the use of UV glazing materials to protect the photograph from UV light..
We recommend this regardless of whether the framed print may be exposed to direct sunlight or not.
We do recommend UV Acrylic (Plexiglas is a trade name for the same material) over glass due to the
potential for glass breakage and subsequent print damage. Please, do not ship your print framed
with glass due to the high probability of glass breakage and print damage.
We do not recommend that the glass or Plexiglas come in direct contact with the print, as the print
can become fixed to the glazing surface. The print can be damaged when attempting to separate the
photograph from the glazing if they become bonded. We highly recommend that an over-matte be
placed between the print and the glazing.
The different types of glazing are as follows:
1. Non-glare glass is intended for the direct contact of the non-glare glass with the photographic
print and to reduce reflective glare. The non-glare glass has been mechanically treated by
“roughing” the glass on one side to reduce glare. The non-glare glass is highly not recommended
for use with photographic fine art prints. When non-glare glass is used with a matted print, the non-
glare glass will soften the sharpness of an image and distort the black and white colors. You may
want to consider an anti-reflective glass if you determine the need for a non-glare framing situation.
If you have a situation in which you need to have the glass in direct contact with the photograph,
non-glare is recommended (rough side contacting the print) over regular window glass, as the non-
glare finish will reduce the potential for the photograph to bond to the surface. The bonding
potential will be greatest for glossy photographs.
2. Regular (window) glass is the traditional glass that the majority of framers will use and is
similar to the glass you have in your windows at home. We do not recommend the use of regular
glass for framed artwork that is over beds, couches and other living spaces that if the frame were to
fall, the broken glass could create bodily harm. Regular glass is easy to clean and care for, but does
not provide any additional protection to your photography from UV light. This will also be your lowest
cost framing alternative.
3. Regular Acrylic (Plexiglas) is an acrylic plastic sheet that can also be used for framing. It has
the advantages of being lower in weight than a similar size window glass and extremely hard to
break. Disadvantages are the higher cost over window glass, more difficult to clean, easier to
scratch, develops “static cling” for dust on the surface and it is difficult to cut.
4. UV Glass is glass that has the additional qualities of reducing a tremendous amount of UV
light that is transmitted. The UV blocking will provide additional protection to your photography and
your mattes. It is the UV light that will yellow the matte and photograph. This is a more expensive
type of glazing that window glass.
5. UV Acrylic also has the additional qualities of reducing a tremendous amount of UV light. It
has the same advantages and disadvantages as the mentioned above for regular acrylic.
6. Non-Reflective Glass is a glass panel that has had a non-reflective coating (chemical)
applied to one side.
7. Museum Glass is a UV glass with the non-reflective coating applied to it. This is the most
expensive glazing that can part of your photographic framing.
Backing:
Backing is the material that is placed directly behind the photograph and will be in contact with the
photograph. Backing is a general term that can include all the backing of the entire frame system.
For the photography backing, we highly recommend that archival acid-free materials be used, as the
backing material can attack the photograph.
Wooden frames can have a backing paper affixed to the frame after the print, matte, print backing
have been placed in the frame and locked into place. Usually the frame backing is attached just
prior to attaching the hanging wire. The frame backing does not contact the art work, but is in close
proximity. It is usually a brown kraft paper, which is affixed to the frame with double-stick adhesive.
The frame backing can help seal the artwork in the frame and reduce the amount of debris or
insects that could contaminate your photograph.
Hanging wire and hooks:
To hang a print to your wall, we recommend that you use wire attached to your frame to suspend
your print on the wall. For wooden frame, you would use an “eye”, which is a screw with a circular
ring, that is attached to the frame. The hanging wire is inserted and wound to assist with hanging the
framed print. Be sure to get the wire with sufficient thickness (usually classified by its carrying
weight) to adequately support the full weight of your framed print. Glass glazing can become very
heavy with large prints.
For the wall, there are a number of different hanging hooks (beyond the traditional nail in the wall)
that are available at most framing stores. The hooks are categorized by their weight hanging
capability, be sure to select the appropriate hooks for the weight of your framed print.
For added security and increased ability to maintain a straight hanging print on your wall, we
recommend that you attached two appropriately sized hooks that are parallel to each other. The
degree of separation of the two hooks will depend on the size of your framed print.
Overview:
Photographs are very fragile and the image and supporting structure can be easily scratched,
dented or wrinkled. Your photographs should be handled similar to other fine art prints; which is to
handle them very carefully.
Your exhibition quality prints have been made by Douglas Stockdale with great care, using methods
and materials that contribute to permanence. If stored under favorable conditions and protected
from physical or chemical damage, they should last beyond 100 years.
We highly recommend that any materials that you bring in near contact to the photographs be
archival materials. Archival materials are designed to not harm or attack the artwork, and are used
by Collectors & Museums to preserve the condition of the photographic prints.
Your print can be affected by insects, water, humidity, atmospheric gases, temperature, and light,
especially UV (Ultra Violet) light. Insects like to eat the print substrate. Water and high humidity (over
60% RH) can create mold and mildew on the print. Atmospheric gases, e.g. smog and other
pollutants can also affect the print. High temperature (e.g. over 100ºF) can premature age the print,
and cause the print to become brittle and can create a potential for subsequent physical damage.
Direct sunlight can also damage the print and fade the image.
Storage:
We highly recommend that you take the following storage conditions into account:
Temperature: not to exceed 90ºF
Humidity: not to exceed 65% and should not be less than 20% Relative Humidity (RH)
Light: Do not store (or display) in direct sunlight, due to UV light damage to the print.
Keep print on archival backing, and maintain an archival slip-sheet over the image
When storage images flat (horizontal) ensure level and caution of placing anything on top of the
print.
Handling:
We recommend that the prints are best handled by holding the backing board that the print is either
held in place by the clear corners or possible archival mounted. We recommend that when handling
the prints; that clean, white cotton gloves be used, or at a minimum that your hands have been
thoroughly washed prior to manual handling the print by its edges. The oils and other residues in
your hands and finger tips can compromise the print quality.
Do not allow liquid adhesive, rubber cement or pressure sensitive tape, such as masking tape, to
come in contact with either side of the print.
Display: Framing & hanging:
Your print can also be further enhanced and protected by the selection of frames, mattes and
glazing (e.g. glass or Plexiglas, also know as Acrylic) for viewing.
Frames:
Frames are broadly classified in two types, wood and metal. You have the most options in design,
color and presentation with wooden frames.
For wooden frames, at a minimum you need to select a wide enough frame that has sufficient
carrying capability for the amount of weight that will be in the frame. Glass glazing can become very
heavy in larger frames.
Another precaution with wooden frames is to ensure that the finish on the wood has dried sufficiently
before assembly with the print. Many of the varnishes and other solvents used for the preparation of
the wooden frame that continue to come off the frame surface can damage your print.
Mattes:
Your print can be further enhanced by the selection of over mattes for your print. We highly
recommend that you select archival acid-free materials (also know as Museum framing) for your
mattes or for any materials that might be in contact with your photograph.
Mattes can be chosen to complement the photograph or to complement your interior decorating,
and many times, both. We have found that a double matte can provide an excellent visual
presentation of your artwork.
A Matte will also keep a safe separation of your photograph from the glass surface.
Glazing (Glass or Acrylic/Plexiglas):
We also highly recommend the use of UV glazing materials to protect the photograph from UV light..
We recommend this regardless of whether the framed print may be exposed to direct sunlight or not.
We do recommend UV Acrylic (Plexiglas is a trade name for the same material) over glass due to the
potential for glass breakage and subsequent print damage. Please, do not ship your print framed
with glass due to the high probability of glass breakage and print damage.
We do not recommend that the glass or Plexiglas come in direct contact with the print, as the print
can become fixed to the glazing surface. The print can be damaged when attempting to separate the
photograph from the glazing if they become bonded. We highly recommend that an over-matte be
placed between the print and the glazing.
The different types of glazing are as follows:
1. Non-glare glass is intended for the direct contact of the non-glare glass with the photographic
print and to reduce reflective glare. The non-glare glass has been mechanically treated by
“roughing” the glass on one side to reduce glare. The non-glare glass is highly not recommended
for use with photographic fine art prints. When non-glare glass is used with a matted print, the non-
glare glass will soften the sharpness of an image and distort the black and white colors. You may
want to consider an anti-reflective glass if you determine the need for a non-glare framing situation.
If you have a situation in which you need to have the glass in direct contact with the photograph,
non-glare is recommended (rough side contacting the print) over regular window glass, as the non-
glare finish will reduce the potential for the photograph to bond to the surface. The bonding
potential will be greatest for glossy photographs.
2. Regular (window) glass is the traditional glass that the majority of framers will use and is
similar to the glass you have in your windows at home. We do not recommend the use of regular
glass for framed artwork that is over beds, couches and other living spaces that if the frame were to
fall, the broken glass could create bodily harm. Regular glass is easy to clean and care for, but does
not provide any additional protection to your photography from UV light. This will also be your lowest
cost framing alternative.
3. Regular Acrylic (Plexiglas) is an acrylic plastic sheet that can also be used for framing. It has
the advantages of being lower in weight than a similar size window glass and extremely hard to
break. Disadvantages are the higher cost over window glass, more difficult to clean, easier to
scratch, develops “static cling” for dust on the surface and it is difficult to cut.
4. UV Glass is glass that has the additional qualities of reducing a tremendous amount of UV
light that is transmitted. The UV blocking will provide additional protection to your photography and
your mattes. It is the UV light that will yellow the matte and photograph. This is a more expensive
type of glazing that window glass.
5. UV Acrylic also has the additional qualities of reducing a tremendous amount of UV light. It
has the same advantages and disadvantages as the mentioned above for regular acrylic.
6. Non-Reflective Glass is a glass panel that has had a non-reflective coating (chemical)
applied to one side.
7. Museum Glass is a UV glass with the non-reflective coating applied to it. This is the most
expensive glazing that can part of your photographic framing.
Backing:
Backing is the material that is placed directly behind the photograph and will be in contact with the
photograph. Backing is a general term that can include all the backing of the entire frame system.
For the photography backing, we highly recommend that archival acid-free materials be used, as the
backing material can attack the photograph.
Wooden frames can have a backing paper affixed to the frame after the print, matte, print backing
have been placed in the frame and locked into place. Usually the frame backing is attached just
prior to attaching the hanging wire. The frame backing does not contact the art work, but is in close
proximity. It is usually a brown kraft paper, which is affixed to the frame with double-stick adhesive.
The frame backing can help seal the artwork in the frame and reduce the amount of debris or
insects that could contaminate your photograph.
Hanging wire and hooks:
To hang a print to your wall, we recommend that you use wire attached to your frame to suspend
your print on the wall. For wooden frame, you would use an “eye”, which is a screw with a circular
ring, that is attached to the frame. The hanging wire is inserted and wound to assist with hanging the
framed print. Be sure to get the wire with sufficient thickness (usually classified by its carrying
weight) to adequately support the full weight of your framed print. Glass glazing can become very
heavy with large prints.
For the wall, there are a number of different hanging hooks (beyond the traditional nail in the wall)
that are available at most framing stores. The hooks are categorized by their weight hanging
capability, be sure to select the appropriate hooks for the weight of your framed print.
For added security and increased ability to maintain a straight hanging print on your wall, we
recommend that you attached two appropriately sized hooks that are parallel to each other. The
degree of separation of the two hooks will depend on the size of your framed print.