THE PRINT PROCESS
With the exception of the few images which are from 35mm originals, the entire production process is completed and controlled by the photographer, including film processing, film scanning, and printing. This control is vital to create an image which reflects the intent during exposure of the original. In other words the person who exposed the original is the same person who prints your final print.  These prints are “archival”, which in most photographic circles means they will last at least a lifetime.  What this means to you is that if you display your print under glass, such as when framed, the image will not show any noticeable degradation for at least 82 years.  In dark storage they will last perhaps twice that long.

SIZING
The sizes indicated are the paper size. The actual image will be slightly smaller to accommodate a ¼” white border around the entire image. Some of the smaller sizes may have one slightly larger border. These images were taken with a variety of cameras, and the available photograph sizes reflect that. Images which originated with the 4”x5” view camera are available in photograph sizes up to 24”x30”, while those originating with medium format or digital equipment may be limited to 20”x24” or 16”x20”. This is to assure that no image is enlarged so much that it loses the detail that is inherent in the original.

MOUNTING
We recommend using an archival mounting tape “hinge” to secure your print to an acid-free backing. The print is produced on 11.5 mil thick paper, which is considerably thicker than most papers used only ten years ago.

HANDLING
Prior to handling these or any photographs be certain that your hands are clean, dry, and free of any oil. We use white cotton gloves when handling these prints. Be careful not to crinkle the paper because even though this media is thick, it can get a “ding”, or a dimple, which will not be correctable. Sharp objects may also scratch the surface. The print should never get wet and should be stored in the protective sleeve and left either in the original mailing tube or on a safe, flat surface until ready for framing. Allowing the print to lay flat for a few days prior to framing will enable the print to “relax”, thus losing some of the tendency to curl.

FRAMING
When framing your print do not allow the print to come into contact with the frame’s glass or plexiglass as over time this contact may damage the surface. Always use at least one acid free, archival matte to provide separation from the glass. Double matting will not only provide more separation but will also make the presentation of your print look especially elegant.

QUESTIONS
If you have any special questions about the care and feeding of your photograph please email us at Thomas@wrightexposures.com.