Labeling and Storage
Every print, whether it's from a negative or a digital file, should be marked on the back in pen or a fine permanent marker with a catalog number that will allow you to match it up with the original file or negative at some later date. This is a task that should not be put off; do it as soon as the prints are made.
When you get prints back from the lab, mark the negative sleeves and the negatives with matching roll and frame numbers so you and your family can easily order more prints later. This is especially important when you have taken several pictures of the same subject but only one of them has the right smile or expression in the eyes. Once you have shuffled the prints, it will be very hard to match up a negative to the print. Number them immediately, before you do any editing. Double check, then edit and sort your prints.
FIGURE 19-2 One way to organize your digital files is with programs that come with image processing software such as PhotoShop Bridge. It will automatically find photo files and organize them by the parameters you set.
Digital prints can be handled similarly, with a reference to the date it was taken and a keyword. If you make a point of always including the date in the folder containing your shots, such as “2009-06-27SmithWedding,” you will find that your folders line up in chronological order on your hard drive and it will be easy to match prints to files.
Store your negatives in normal humidity and temperature ranges. Hot attics and damp basements will ruin film and prints. Do not touch the negatives except by the edges. Do not get the negatives wet, as they will stick together or pick up dust. If they need to be cleaned, let the lab do it. Do not cut out a single negative from a strip of four or six. It is easier for the lab to handle the larger strip.
Should you decide you're going to mount and frame some of your images for display on the walls in your home, you'll probably want to get them enlarged to make them more dramatic and easier to see. This is when having a good photofinisher can really pay off. Take your pictures to some-one who has the expertise and is willing to take the time to get them right. This photo lab should understand what it means to lighten (dodge) or darken (burn) an image and also know how to adjust color balance on prints.
Most custom labs will more than likely suggest doing what needs to be done before you have the chance to say a word. Most quick photo places aren't up to the task unless they also do custom work. For great enlargements, find a shop that does.
If you are shooting digital and you have been using an image-processing program for a while, you will by now have developed your own expertise at correcting your photos. In Photoshop, you can dodge and burn, crop, sharpen, and make color corrections. You can even remove extraneous items such as former spouses from your images before enlarging them.
The three factors that impact print size the most are viewing distance, size of the room, and sharpness of the image. In a large room, you will probably have a greater viewing distance, which allows for bigger enlargements, even from an image that isn't sharp.
The colors in enlargements can be different from those in smaller prints if different filtration systems are used to produce them. If you like the color and contrast in the smaller print bring it along when you order the enlargement and ask the lab to match it.
Although it's always best to crop your images when you're taking them, you can also improve them by cropping them when you enlarge them. Most photofinishing places have cropping masks that you can place on the print (or on a projected image of your slide, if they can do it) that allow you to explore your options until you get the image you like. You can also mark the crops yourself on the picture or the slide mount.
Digital shooters can explore different crops on their images at home before bringing the file to a photo lab. Photoshop and Photoshop Elements, for example, allow you to move the crop marks into any shape you like. The area of the photo to be cropped out is darkened so you can gauge the overall effect the cropping will have.
Remember: never make crop marks directly on a slide. Slides are first-generation images. As such, when they're printed, everything that's on them — from scratches to ink marks — will show up in the final print.
If you are having your pictures custom framed, you might want to wait to do your cropping until you consult with your framer. The framer can either trim the print so the mat fits around it or cut the mat so it crops the print as you wish.
This is something you can do yourself, but it does take some special equipment and a little time to learn how to do well. For these reasons, it's often a good idea to find a frame shop to do it for you. Whether you're doing the job yourself or having someone else do it, make sure your prints are first mounted on mount or backing board. This stabilizes them and keeps them from wrinkling and curling.
To make a very dramatic statement, mount a series of three or four images that work together, such as a child making faces or a series showing a variety of emotions. These can be matted in one frame, with individual windows cut out of the mat for the images.
Many people find it difficult to decide which mats and frames they should use for their pictures. A good rule is to go as simple as possible and choose colors that flatter your images. With black-and-white prints, white mats with white, silver, or black frames are classic choices. Color prints often look best in wood or gold frames, although a colored frame that picks up and emphasizes a color in the print can be effective as well.
Prints can fade when they're displayed in direct sunlight and even artificial light. Color prints, in particular, are very susceptible to fading. Their color layers react differently to light rays, causing color shift over time. Display your color prints away from bright windows or protect them with UV-coated glass.
Also think about how the images are going to be displayed. If they're going to hang as a series, you'll want the mats and frames on all of them to match. If the picture is going to be the main focal point on a wall, something a bit grander than your basic mat and frame might be in order.
If you are entering your photos in a competition or a photo exhibit, plan to have your work custom framed, usually in a white or neutral mat and with a very minimalistic silver metal frame. Ask about framing requirements for these events, as they vary by institution and region. Sign both the mat and the back of the print. Regardless of what mounting and framing materials you choose, make sure they're of archival quality. This means they're free of any chemicals that could alter the image's appearance over time.
