Caring for Your Prints
A fine art photography print is not an especially fragile thing, but it is a considered one. The enemies of all visual art — ultraviolet light, humidity, airborne pollutants, physical contact — are slow and patient. A few straightforward decisions at the time of display will ensure that what you’ve acquired looks as it does today for as long as you intend to keep it.
This guide covers the prints available from Brian Creek Photography. They have different physical structures and different strengths, and their care differs accordingly.
Photographic or Archival Pigment Ink Prints On Film & Paper
Our photographic prints include Fuji Crystal DP II, Fujiflex High Gloss, Ilford B&W, Silver Gelatin, and Platinum/Palladium prints. All of these prints share a common physical structure: the image exists within a thin light-sensitive emulsion on paper or film.
Archival Pigment Ink Prints (or Giclée) are produced using high-resolution inkjet printers that spray archival pigment inks on heavyweight, acid-free, 100% cotton rag or alpha-cellulose fine art papers. They differ from traditional photographic prints both in construction and in presence: the image sits on the surface of the paper, and the material itself carries a distinct visual and tactile weight.
Each of these responds to its environment in similar ways, and they benefit from the same high level of care.
Display Environment
Ultraviolet light is the primary enemy of photographic prints on display. Direct sunlight is the worst offender, but UV is present in all natural light and in many artificial light sources. The single most effective thing you can do to extend the life of a photographic print is to keep it out of direct sun and away from unfiltered natural light over long periods.
Museum glass or UV-filtering acrylic glazing is the standard solution for framed prints. It blocks the majority of UV radiation while having no visible effect on the image. If you are investing in a framed print, invest in the glazing as well.
Fluorescent tubes emit significant UV. LED lighting, by contrast, emits very little and is the preferred choice for illuminating displayed artwork. Picture lights, track lighting, and spotlights using warm LED sources are all suitable.
Humidity should be kept stable — not necessarily low, but consistent. Avoid displaying prints in rooms with significant humidity fluctuation: bathrooms, kitchens, and rooms adjacent to exterior walls in cold climates. Ideal relative humidity is between 30% and 50%.
Framing
Photographic prints should be framed with archival, acid-free materials throughout. This means acid-free mat board, acid-free foam core or backing board, and glazing that does not directly contact the print surface. A mat or spacer between the print and the glazing prevents moisture condensation from damaging the emulsion.
Do not dry-mount photographic prints. Dry mounting uses heat and adhesive to permanently bond a print to a backing board, which traps any moisture present and prevents the print from responding naturally to humidity changes. Hinging with archival paper or linen tape, or floating the print in the frame, are appropriate methods.
Handling
Handle unframed prints by their edges. The oils and acids in skin contact can damage the emulsion surface over time, particularly on uncoated fiber-based papers. White cotton gloves are ideal for handling prints, particularly at larger sizes. Use care to prevent denting, folding, or creasing.
If a print needs to be transported without a frame, lay it flat between sheets of acid-free glassine or tissue. Do not tightly roll photographic prints — the emulsion can crack. Do not stack unprotected prints face-to-face.
Cleaning
Unframed prints should not be cleaned except by specially trained art conservators. The American Institute for Conservation can help you find one. Dust should be managed through proper framing and glazing.
A Note on Platinum / Palladium
Platinum and palladium prints are the most archival prints in this collection by a significant margin — documented stability in excess of 1,500 years under proper conditions. The noble metals that form the image are physically embedded in the paper fibers and are chemically inert. Standard framing and display precautions apply, but these prints have a permanence that requires no special anxiety.
Hard Substrate Prints
The media in this section includes ChromaLuxe HD Metal and Museum Mount prints.
Hard substrate prints are fundamentally different in construction from prints on paper or film. They are significantly more durable, indifferent to humidity, and require no glazing. Their care is correspondingly simpler.
Display Environment
ChromaLuxe aluminum panels and acrylic face mounts are not sensitive to humidity. They can be displayed in rooms where photographic paper prints would be at risk — kitchens, bathrooms, spaces with variable humidity — without concern.
UV light remains relevant for color prints on both substrates: prolonged direct sunlight will eventually affect any color image. Standard precautions against extended direct sun exposure apply. LED lighting is recommended, as it is for all displayed artwork.
Hanging and Installation
ChromaLuxe panels arrive with a hanging system (unless you specifically request no hanging system in your order) and require no frame. Follow the included instructions for wall mounting. The panel is rigid and self-supporting — do not lean large panels against walls unsupported for extended periods.
Museum mounts are typically supplied with a standoff mounting system that holds the panel away from the wall, creating a shadow gap that is part of the presentation. Follow the installer’s instructions for standoff placement. The acrylic surface is durable but can be scratched — handle with care during installation. These prints can be framed as well, providing a unique appearance.
Cleaning
ChromaLuxe aluminum panels can be wiped clean with a soft, lint-free cloth, slightly dampened if necessary. Avoid abrasive materials.
Acrylic surfaces attract static and should be cleaned with a dedicated acrylic cleaner and a soft microfiber cloth. Do not use glass cleaners containing ammonia — they will damage acrylic. Do not use paper towels or rough cloths, which will scratch the surface.
Handling
Both substrates are rigid and should be handled with two hands at all times. The acrylic surface scratches more easily than you might expect — wear cotton gloves for handling before installation, and keep the protective film in place until the print is ready to hang.
