Display & Framing Recommendations

To ensure your print looks its best for years to come, I recommend one of three approaches, depending on your aesthetic preferences and budget:

  1. Mounted, framed, and behind acrylic or glass—this offers the most protection from UV rays, dust, moisture, and handling while adding a refined, gallery-quality look. (Smaller prints don’t necessarily need to be mounted if they’re framed behind acrylic or glass.)

  2. Mounted and framed—this streamlined approach removes the glass or acrylic, reducing reflections and giving a more direct, tactile feel to the print, though with slightly less surface and UV protection.

  3. Mounted only—ideal for a minimalist, modern presentation, but best suited to controlled environments where UV exposure and physical protection are less of a concern.

Unpacking Your Shipped Print

Your print will shipped rolled in a tube, I recommend not unpacking it yourself. It’s surprisingly easy to accidentally dent or crease the print while trying to unroll it on your own. Instead, let your professional framer handle it—framers have the right tools, space, and experience to safely unpack and flatten the print without risk of damage. This small step can make a big difference in keeping your artwork in pristine condition as it’s prepared for display.

Mounting

For larger prints especially, professional mounting helps keep the artwork flat and free from warping over time. I recommend dry mounting your print to a rigid, archival-quality substrate for the best results. The preferred option is DiBond, a durable aluminum composite panel widely used in galleries and museums for its long-term stability and sleek, modern appearance.

For a more budget-friendly alternative, acid-free Gator board is also a solid choice. It’s lightweight, rigid, and often used in exhibitions. While it’s not considered fully archival in the strictest sense, the acid-free version is pH-neutral and suitable for most long-term display purposes—especially if the print is also laminated and framed.

UV Laminate

A top UV laminate, typically applied during mounting, adds a protective layer that helps reduce UV-related fading and shields against moisture, light scuffs, and fingerprints. I also love the visual finish it creates, and I recommend using matte or luster for my images. This laminate isn’t required, but many collectors appreciate the added depth and durability it provides.

It’s important to note that while dry mounting and UV laminates are widely accepted and commonly used—especially for large prints—they’re not considered archival by strict conservation standards. The process is typically permanent, meaning the print can’t be removed from the mount without risk of damage. For that reason, some collectors and institutions prefer alternative, reversible methods for truly archival framing. That said, many photographers, galleries, and collectors (myself included) choose to dry mount large prints for the protective benefits and clean display.

Picking a Frame Style

Choosing a frame style is completely personal—it’s all about what speaks to you and complements your space. Personally, I tend to go with a flat-profile white frame that’s about 1.5 inches wide and deep. It’s clean, modern, and versatile, providing a subtle structure that doesn’t compete with the artwork. But you should pick what resonates most with you—whether that’s something similarly minimal or a bolder, more decorative frame that adds a touch of character to your display.

Mat Board

Using a mat board (also known as a “mat” or “matting”) in your framing is also a personal choice—both approaches can look great. A mat creates a visual border around the print, drawing the viewer’s eye inward and adding extra impact, especially for smaller-sized prints. It also gives the artwork a bit of breathing room, creating a more classic, refined look. On the other hand, for a modern, minimalist presentation, you might skip the mat entirely and go with a clean, full-bleed look where the print extends all the way to the frame edges. Both approaches work beautifully; it really depends on the mood you want to create.

Glazing (Glass)

Glazing—like acrylic or glass—adds an essential layer of protection against UV rays, dust, moisture, and accidental damage while also enhancing the aesthetic appeal with a polished, gallery-quality finish. I recommend using acrylic (plexiglass) instead of traditional glass, especially for larger prints. Acrylic is lighter, more shatter-resistant, and less reflective, which cuts down on glare. It’s also the standard in most galleries and museums for photographic work, and there are acrylic options available with added UV protection.

Finding a Framer

When looking for a frame shop, I often rely on word of mouth or online reviews. You don’t need the most expensive shop in town, but it’s wise to avoid the absolute cheapest. Look for a shop with experienced framers who are friendly and willing to take the time to understand your vision and budget.

Display

Choosing the right spot to display your print helps ensure it looks its best for years to come. Avoid hanging fine art photography in direct sunlight, as prolonged UV exposure can fade colors and degrade the paper or print surface over time. Indirect or ambient light is best, providing a gentle illumination that showcases the print without causing damage.