FAQs
Why are many of the prints relatively small?
The charm of alternative printing, or traditional photographic practice is its emphasis on print quality, prioritised over print size. Connoisseurs of photographic prints look for subtly of tone, and expression made through prints. In the earlier days, most reproductive print methods were limited to 1:1 contact printing, meaning the negative size directly related to the print size. This is because then, as Christopher employs now, a negative serves as a mask for the contact print. It was historically unusual to see prints larger than 12x16 inches, and in most cases prints were 10x8 inches or smaller. These limitations made smaller prints a more accepted proposition. This history of modest print size has given legitimacy to small-to-medium print reproductions in the eyes of collectors.
Christopher could overcome smaller prints by converting images into digital negatives of any size to make larger prints, but doing so would dishonour the intentions, which is to reconcile physical limitations as governed by hands-on practice.
How do I care for my print?
Prints should be kept in an area of low relative humidity and stable temperature to increase archival permanence. It is Christopher’s feeling though that a print should be displayed and celebrated, not stored away and rarely seen. Ideally, the archival framed work should be out of direct sunlight, and away from strong light sources. Non refective UV-70 (or greater) glass helps archival permanence. Avoid walls that may suffer from dampness to avoid risk of mould and display in a room frequented by daily activity.
If your print must be stored, interleave it between two acid free matts using a stable, archival tissue paper. Use cotton gloves to avoid leaving oils and stains from fingers when handling prints.
Ask your framer to take extreme car when framing a platinum palladium print, and always ensure the print never comes into direct contact with the frame glass.
Do you provide advice on framing?
Framing is a highly personal undertaking but advice either by Chris or his preferred framer can be sought to consider how an image best blends with an existing wall colour, or under certain lighting conditions.
Moulding thickness, colour, material needs to be considered, along with method of adhesion to backing material, and archival qualities of mounting. Prints need to be surrounded by acid free and archival mounting matts, if used, and the image must not come into contact with frame glass. Proportions of matt in relation to print and frame size should be considered, as well as a suitable hanging system such as D rings.
None of the Platina Editions prints are suitable for traditional spray adhesives used by the majority of modern framers, underscoring the value in using a Platina Editions trusted framer.