City Escapes Nature Photography: City Escapes Photography Newsletter

CITY ESCAPES

Nature Photography, LLC

Newsletter

November, 2010

Thanks for Coming to Our Second Show!

We want to extend a heartfelt “Thank you!” to everyone who came to see us at our second gallery show. Our Arctic release was a big hit, and it was great fun finding out which image(s) each of you found most interesting. We even had a few visitors who found images of places with personal connections, and I loved hearing their stories. Most especially, a huge debt of gratitude goes out to Linda at Badger Canyon Herb & Tea for allowing us to take over a quarter of her shop for two days, and for finding it amusing that a moose was watching her the entire time. (For those who were not able to make it, “The Stare – Bull Moose” directly faced Linda’s counter. It was a good thing that she likes the image!)

Show Special Extended – Buy a Print, Get Greeting Cards Free!

In honor of the success of the show, we have decided to extend our show special through December 19^th: buy any print, framed or not, and receive a 5-pack of our Overview Greeting Cards free! (Limit one free 5-pack per client per day. For included images, see our Greeting Cards section on our website, http://www.cityescapesphotography.com .)

Home Photo Framing Basics, Part 3: Glass

Photo frame glass is all the same, right? Wrong! In the third installment of our series on home photo framing basics, we take a closer look at what is arguably the most taken-for-granted component of a frame: the glass.

Glass, as a material, is truly fascinating. Though it appears to be a solid, it is actually a liquid; it can block or magnify light; it can be so clear that it is practically invisible, or completely opaque. We acknowledge one of its many dichotomous traits when we speak of things such as a lake being “as smooth as glass,” yet who among us does not know to be careful around glass, lest a broken piece or a rough edge leave us wishing we owned stock in Band-Aid? For photo framing, however, we need only focus on a few main characteristics of glass: its ability to block ultraviolet light, its reflectivity, and its weight.

Most, if not all, ready-made frames that include glass use the same type of standard glass. This glass blocks about 45% of UV light and is highly reflective, meaning that glare can be a problem under particular lighting situations. This glass is fine for many applications, but for particularly valuable (whether for monetary or sentimental reasons) prints, the home framer might want to consider upgrading to a higher quality material.

The two main types of glass to consider, both available at most framing shops and many glass shops, are museum-grade and conservation-grade. Both block 99% of UV light – a significant improvement over standard glass. By blocking more of the ultraviolet light, these glass types extend the life of your print, both by preventing colors from fading, and by helping to prevent degradation of the actual print itself. The primary difference between the two glass types is how much of the “good” light they allow through to the print. Museum glass is the highest quality framing glass available. It has low reflectivity, which means that glare is significantly reduced, and high light transmission, resulting in the truest color rendition and incredible clarity. We have found that museum glass is especially effective at transmitting deep, dark colors: no other glass will display a richer black, for example. It is also quite useful for works with three or more mats and for shadowboxes, as it retains its clarity of light transmission regardless of how far from the glass the print or keepsake lies. Being the best, of course, comes at a price: museum glass is also the most expensive of all frame glass.

Conservation glass, meanwhile, while equal to museum glass in UV light blockage, has a slightly lower light transmission rate. This means that colors do not appear quite as true or as rich, though this effect is much less noticeable for lighter colors than for darker ones. Conservation glass is available in two styles: clear and reflection control, and they are how they sound: clear has a standard, glossy finish, while reflection control has a matte-like finish. Both styles are notably less expensive than museum glass. While a significantly higher quality glass, conservation clear will look much like standard framing glass in that light can create flares and reflections under the right conditions. Reflection control glass does just that: glare and reflections are significantly reduced under those same lighting situations. However, depending upon how the reflection control is achieved, the trade-off might be a decrease in clarity and sharpness, especially for prints that have three or more mats and for shadowboxes.

Two last factors should be taken into account when considering your glazing needs: the size of your project and how likely it is to suffer damage. We’ll deal with size first. All types of glass are heavy, and for large framed pieces, it is not uncommon for the glass to rival or surpass the weight of the frame itself. This can not only make the display of your piece more challenging, as the heavier the piece, the greater the need for substantial wall support, but it can also make transport more difficult and expensive, and increase the likelihood that the piece will be accidentally dropped. For truly large pieces, professional framers will often use much lighter acrylic in lieu of glass. Most home framers will never frame any piece large enough to require acrylic, but for the exceptionally adventurous types who want to try their hand at large-piece framing, know that acrylic is a much lighter option.

Acrylic is not just for large pieces, however; it is also useful for situations where breakage is a major concern, such as in a child’s room or in a high-traffic area. Most acrylics are shatter-resistant, making them safer to use in such situations. (I once saw a beautifully framed, with glass, painting in a cruise ship pub -- a ship that sailed the open ocean, with all of the commensurate rocking and rolling. This beautifully framed -- with glass -- painting was well attached to the wall, so that it would not fall because of the ship’s movements. However, this beautifully framed – WITH GLASS! – painting was hung right next to a dart board. It did not survive the first evening.) Acrylic is also available in conservation and reflection control varieties. Everything has a drawback, of course, and the major drawback of acrylic is that it is much easier to scratch than glass, even during routine cleaning. It seems illogical that a material that is more difficult to break should be easier to scratch, but such is unfortunately the case here.

So, which glass option is right for your particular framing need? The most honest, but unfortunately least helpful, answer is that it is largely a matter of personal taste. A few guidelines can help, however. First, consider the value of your print. Is it expensive, irreplaceable, or high in sentimental value? Then you might want to upgrade to conservation or museum glass. Consider where you will be displaying the piece. Should you consider the extra safety of acrylic? What is the lighting like there? Are you likely to have to deal with glare and reflections? If so, you should consider a reflection control glazing. And finally, what is your budget? Standard glass, when included in a frame, will cost you nothing extra, while conservation glass requires a slightly larger investment and museum glass has the potential to give you sticker shock. If you find yourself undecided, it is worth a trip to the frame shop to see the visual difference that each type of glass makes. As the saying goes, a picture is worth a thousand words.

November’s Fun Facts

In honor of Thanksgiving, this month we’re all about turkeys!

Female turkeys are called hens, males are toms, and babies are poults.
Only toms gobble. Hens cluck. The gobble is a mating call, and can be heard up to a mile away.
Wild turkeys can fly at up to 55 mph for short distances, run at 20 mph, and glide for over a mile.
Domestic turkeys cannot fly. They have been bred to be significantly larger than their wild counterparts, with an emphasis on the breast meat. This extra size and weight makes them too heavy to fly, and even interferes with normal breeding.
Yes, Benjamin Franklin really did want the turkey, not the bald eagle, to be the national bird of the United States of America. In addition to its status as the only poultry bird native to the Americas, Franklin described the turkey as “though a little vain & silly, a bird of courage, [who] would not hesitate to attack a grenadier of the British Guards who should presume to invade his farm yard with a red coat on.”
In bowling lingo, three strikes in a row is called a turkey.
Big Bird is a superficial turkey: his costume is made of close to 4,000 dyed turkey feathers.
Every year since 1989, two turkeys, one official and one “alternate,” have been given official presidential pardons just before Thanksgiving in a special ceremony at the White House. Rather than being cooked for dinner, each year the two turkeys have been sent to live out their natural lives in a park. For the first 15 years, the birds were sent to the petting zoo at Frying Pan Park in Herndon, Virginia. (Given the name of the park, I imagine they remained nervous birds.) Since 2005, the turkeys have all been flown to Disneyland.