Dear Client,

I hope you’re pleased when you receive your newly framed photograph. It looks great! And since chromogenic photographs are uniquely delicate, I thought I would follow up with a few preservation guidelines for them.

The frame is assembled with UV filtering, antireflective glazing, and all of the materials and methods used to construct the frame are to a high museum standard. Still, with this type of photographic print I always urge extra caution, especially when we start out with an image in such great condition. 

Refraining from over-relying on the UV filter to protect from degradation is a great place to start. We suggest to minimize direct exposure to light sources, especially natural light or strong artificial light, but also encourage awareness that the rest of the spectrum represents energy, too. Ideally, a lower light environment or installation in a space where blinds can be shut during the day is preferable. Some people go so far as to cover works with blackout cloth if they are away mostly during the day, or traveling for extended periods. Direct exposure to sun or strong artificial light can be injurious to c-prints (as well as other media) and is best avoided completely, but even indirect light, in time, can contribute to destruction of already delicate media. 

When thinking about preserving color photographs, energy can as well be thought of in terms of temperature and humidity fluctuations, both of which can speed up degradation. Wherever possible, interior rooms/walls with more stable temperature and humidity conditions, away from potentially off-gassing materials or more active use areas such as laundry rooms and kitchens, will best support preservation of c-prints in home environments.

It’s always a challenge to balance out the preservation requirements of living with art, especially when the medium is a chromogenic print and thus, chemically, embodies a degree of inherent vice which will lead to degrees of degradation no matter what we do. Indeed, collections which have the means and capacity to do so actually store color photography in refrigeration to slow down the energy exposure of these works. But most of us do not live or work in museum environments, and we love our art, our light, and our views. So we do the very best we can, and honor the work by caring for it and enjoying it.

We are always happy to speak at greater length about preservation issues, so please don’t hesitate to reach out if you have any questions. And thanks as always for the work!

With best wishes, Team Sterling