PRINT INFORMATION

Drew Wiley makes his prints one at a time using very precise enlarging equipment which he has personally designed. He customarily prints color images on Cibachrome material, one of the most beautiful color media ever invented, but he also makes black and white prints, as well as certain other kinds of color prints. The photographs themselves are generally taken with large-format cameras, using either eight-by-ten (8 x 10) or four-by-five (4 x 5) inch film, allowing even very large prints to be made with exceptional detail and color.

The prints can be framed to archival standards in his own frame shop. It is recommended that Cibachrome prints be purchased fully framed, since they are sensitive to direct handling. Black and white or regular color prints, however, are available either framed or simply mounted.

Cibachrome prints, especially large ones, will need thoughtful lighting placement due to their glossy surface. But for maximum permanence, direct sunlight or hot halogen display lamps must be avoided. Good results have been achieved with color-corrected neodymium spotlights, such as Lumiram Chromalux or GE Reveal brand bulbs.

Shipping, sales tax (where applicable), custom hardwood frames and optically-coated nonglare glazing are additional to all above prices. For additional information, please call or e-mail using the contact link.

Optically-Coated Glass will reduce reflections without obscuring image clarity like ordinary etched nonglare glass. Surcharge to framed prints for optically-coated glass 20" x 24" or smaller print $120

Fee for crating and shipping a framed print UPS ground, anywhere in the USA 20" x 24" or smaller print $60 - 30" x 40" print $100

SHIPPING
Framed prints will be shipped in custom-fitted crates, UPS insured, unless otherwise requested. Please note that frames with glass cannot be shipped in this manner (only acrylic glazing can be shipped in this way). Shipments within California are taxable.

FRAMING OPTIONS
Frame mats and mouldings are selected to complement the specific photograph itself, as well as to meet archival requirements for optimum longevity on display.

Generally metal mouldings are preferred, due to their consistent quality, but not every moulding profile is suitable to retain large mounted photographs. The profiles we most often use are Nielsen #'s 22, 117, and 71.

We manufacture our own hardwood mouldings to assure high quality, and currently offer frames in genuine cherry, maple, and black walnut. Priced per request.

Frames can be supplied either with regular picture wire or a superior cleat system, which is stronger and will remain permanently level.

LIGHTING PARAMETERS FOR DISPLAY PRINTS
These prints are color-balanced to look attractive under a reasonable variety of residential or gallery display conditions. But for ideal illumination, the following mid-point parameters are recommended: Color temp. 4000K (measured after any filters are installed on the lamp) and an illumination of 400 lux (measured at the picture plane). In addition, lamps should have a CRI of 90 or higher.

GLAZING OPTIONS
Display prints can be protected either by glass or by an acrylic sheet material like Acrylite or Plexiglas. Generally, acrylic is preferable because it is shatter resistant and a better thermal insulator than glass. However, acrylic can bow slightly outwards on display. It can also develop a static charge and attract dust, so will probably need periodic cleaning with a specified anti-static plastic solution and soft lint-free wipes (never use paper towels or conventional glass cleaners).

Optically-Coated Glass: This is an option which is noticeably effective in reducing secondary reflections on the surface of the glazing itself, without obscuring image clarity like ordinary etched nonglare glass will do. However, this kind of glass is particularly fragile, so we do not recommend it when prints must be shipped. And if it needs to be cleaned, ammonia-free lens solutions must be used.

Surcharge to framed prints for optically-coated glass: 20" X 24" or smaller print - $120

MOUNTING TECHNIQUES
Static Mount: This is the mounting technique we generally prefer for Cibachrome display prints because it is both archival and reversible. Basically, the print is held flat to a rigid acrylic sheet by "static cling." Although this is simple in concept, it requires some distinct tricks to do correctly. The print afterwards receives a window mat, protective glazing (either glass or acrylic), backing and frame. Static mounting works quite well with 20 X 24 inch prints, especially when combined with optically-coated glass, but is less reliable for very large prints.

Special Acrylic Face-Mount: This is a proprietary technique developed by Drew Wiley for large Cibachrome display prints, and provides distinct reduction in glare, along with an especially elegant presentation. However, since no mat is placed between the print and glazing, there is no air space between them either. Therefore, this system is not recommended for humid climates or other display locations where mildew growth might become a risk. And because this technique is non-reversible, it might not meet the requirements for some museum collections. Surcharge to framed print for special acrylic face-mount : 30" X 40" print - $200

Adhesive Mounting
An aggressive "cold mount" adhesive is recommended for very large Cibachrome prints. However, even in the best cases, this will leave slightly more visible "orange peel" ripple on the print surface than the more specialized techniques noted above. Adhesive mounting, either wet or cold-mount, is also used for more conventional Type C prints, such as Crystal Archive paper. The mounted print then receives an overmat, prior to framing.

Small Cibachrome Prints: 11 X 14 inches or smaller are generally edge-glued directly to museum board, with a window mat above. This system works well either on display or in boxed portfolios, but is not suitable for larger prints.

Drymounting: This is the standard method for mounting fiber-based black-and-white prints. A heated press, dry mount tissue, and white museum board are involved. The technique is considered archival and is always used for our silver-gelatin prints.