All picture framing is handled in house, and all frames are crafted meticulously to museum standard in hard woods – Beautiful objects created without compromise.
Archival Mounting

When making a platinum print, the addition of palladium yields soft, warm, sepia-like tones. Carbon based pigments give a very similar effect. To compliment these tones, a thick cotton mount board in one of several ‘off white’ shades is selected to match. Quite apart from being acid free, the boards do not contain lignin and are clear of optical brightening agents. They are 100% cotton. Personally, I favour the visual simplicity of a thick 8ply mount, cut with a beveled edge as shown in the picture. A burnishing bone smoothes the edge.

The print is typically attached to its mount with Japanese hinging tissue, and a starch paste mixed with de-ionised water for adhesive.
Museum Glazing

An image made on pure cotton or linen rag and formed from carbon ink or platinum and palladium has an unmatched archival stability. Still, museum specification glass will always be chosen, to block almost completely the most damaging of Ultraviolet Light.

The glazing is anti-reflective and without colour cast to ensure the finest viewing experience. Where the risks associated with breakage might be higher, in busy hallways or nurseries for instance, a high specification acrylic can be provided (at cost) instead.
Provenance

On the back of each frame is a unique number. It references a database of notes, techniques and the materials used to create both print and frame. It is my commitment to ensuring your photographs will look fantastic for many years of enjoyment.