Print Notice:

Due to differences in monitor settings
actual printed colors may vary

How are prints made?

Our color prints are created from a high resolution digital image and processed thru a state of the art professional photo lab using Kodak Endura Archival Paper (E-Surface) . It has been tested to last over 100 years under normal lighting conditions before noticable fading and 200 years in dark storage using the most common storage conditions.

Our true black & white prints use Kodak Polymax D surface paper resin-coated paper which is specifically designed for making continuous-tone b&w prints directly from digital images in digital exposing systems. Because the emulsion is silver based rather than dye based the imaging performance and characteristics of this paper are the same as traditional b&w continuous-tone papers offering good sharpness, display and archival characteristics. This exciting new smooth, fine lustre surface is perfect for both portrait and fine art applications where a "texture" or "high gloss" surface would distract from the subject of the photo.

All photographs are also coated with Lustre Coating, which is a clear, protective coating that will help eliminate fingerprints and serve as a protective coating for your image.

All photos are printed with a white border and are not framed.

Why do prints have a white border?

A thin white border around the image is used to add elegance and a more dramatic look. Square and panoramic images are always padded with simple white borders to avoid excessive cropping. The size of the border will vary by print size and will be approx ¼” - ½”(see chart below). This is also the area in which I will sign the photo if requested. When you have the photo matted and framed you have the option of whether you want the signature to show.

PRINT CARE
(HANDLING AND FRAMING YOU IMAGE)

Print this page and take to your framer.

For Color Prints

STORAGE AND DISPLAY OF PRINTS
KODAK PROFESSIONAL PORTRA ENDURA Paper and KODAK PROFESSIONAL SUPRA ENDURA Paper have been formulated to provide improved dye stability and print longevity for prints displayed under typical home lighting conditions (i.e., 120 lux for 12 hours a day), and typical home dark storage conditions (i.e., 20 to 23°C [68 to 73.4°F] and 50% relative humidity). Photographic dyes, like all dyes, can change with time and exposure to sunlight, ultraviolet radiation, excessive heat, and high humidity. To help prevent changes in photographic dyes, follow these guidelines:• Illuminate prints with tungsten light whenever possible.

• Display prints in the lowest light level consistent with your viewing needs.
• If a print is exposed to direct or indirect sunlight or fluorescent light, use an ultraviolet-absorbing filter (such as glass) between the light source and the print.
• If prints are displayed behind glass, maintain a slight separation between the print and the glass.
• Keep the temperature and humidity as low as possible.
• Use album materials described in KODAK Publication No. E-30, Storage and Care of KODAK Photographic
Materials—Before and After Processing.

Mounting Prints
You can mount prints with dry mounting tissue. The temperature across the heating platen should be 82 to 93°C (180 to 200°F). Preheat the cover sheet that you use over the
face of the print to remove moisture. Apply pressure for 30 seconds, or up to 3 minutes in the case of a thick mount.

Caution !!!
Temperatures above 93°C (200°F) for long periods of time may cause physical and color changes in prints. Excessive moisture may also cause color shifts. Mounting at the lowest
temperature at the shortest time will reduce these changes.

Note: KODAK PROESSIONAL PORTRA ENDURA Paper and KODAK PROESSIONAL SUPRA ENDURA Paper may shift towards a pink balance when heated to excessive temperatures, but will return to normal when fully cooled to room temperature.
You can also use a contact-type adhesive or cement for cold-mounting.

For information on lacquering and other post-process treatments, see KODAK Publication No. E-176, Post-Processing Treatment of Color Prints—Effects on Image Stability, available through our website at www.kodak.com/go/professional.

Black and White Prints

Lacquering and Laminating
Use lacquers with caution. If you choose to lacquer your prints, select a lacquer that is specifically intended for photographic applications.

Apply multiple light coats rather than a single thick coat of lacquer. Never allow a lacquered print to come into contact with the glass in a picture frame, because it may stick to the glass.
Laminating is really a variation on lacquering. Instead of a very thin polymer layer, laminating produces a much thicker layer. Laminates may contain UV absorbers, plasticizers, and matting agents. They provide protection against fungus and bacterial attack, moisture and dirt in the air, and physical abrasion.

Mounting
Mounting provides rigidity, helps prevent wrinkling, and gives some physical protection to prints.

For long-term keeping, it is best not to use adhesives or dry-mounting tissue. The best mounting method is to use plastic corners or hinge the print by using Japanese rice
paper and water-soluble wheat paste. Do not use rubber cement, contact cement, or animal glue.

If you must use a liquid adhesive, use starch paste or polyvinyl chloride.

If you choose to dry-mount your prints, use acid-free, pH-buffered, conservation-quality mounting board and conservation-quality mounting tissue.

An overmat, or window mat, will help protect a print from abrasion, keep the emulsion away from the glass in a frame, and provide a neutral or complementary field. Be sure to use
conservation-quality mat boards and backing and non-reactive framing materials.

For more information on laminating, lacquering, and
mounting, see KODAK Publication No. E-67, Finishing
Prints on KODAK Water-Resistant Papers, or No. F-35,
Protecting and Displaying Black-and-White Prints.