What type of photographic prints do you get?                       

You get a range of different prints made using chemical darkroom or digital printing processes. Inkjet or Gicée is a popular digital method that uses high-quality pigments and results in a polished and sharp image. When printed on acid-free paper, these are referred to as Archival Pigment Prints. Chromogenic prints (C-Prints) are a standard colour print that can either be developed in the darkroom or digitally, and with black-and-white film photography, Silver-Gelatin is the go-to lab process for artists and photographers.   

With images captured on film, Da Silva shared that you should ideally purchase a vintage print, which is typically made within five years of the negative being exposed. Collectors often prize vintage prints because they are developed by the artist or under their supervision, adding to the value of the print as it reflects the specific qualities the artist had in mind.

Editions: How do they work and how do they influence the value of a print?

Edition size refers to the number of photographic prints produced from a film negative or digital image. Each image in an edition will be signed and numbered with the print number and the total edition size, presented in the format 2/5, for example.

“It is best to have small editions, certainly if the prints are handmade”, emphasised da Silva. Large editions, typically consisting of 100+ prints, are appealing as they make the work more accessible to a wider range of collectors. However, limited editions of 1 to 20 prints hold greater value because the set is more exclusive.

However, there are unique instances where the sheer demand for an artist or photographer disrupts the conventional editioning model of smaller print runs carrying more value. Works by Zanele Muholi in our photography focus sale are a reminder of this dynamic nature of the secondary market.

How should I frame and install my photographic works?

“It is important to work with a reputable framer who uses archival boards and acid-free tape, and knows not to mount prints directly on the board”, emphasised da Silva. The archival framing methods he mentioned are used to extend the longevity of the print. For installation, Da Silva shared that photographic prints should never be hung in direct sunlight, as “light is always going to be a threat to the artwork, even if it has been processed properly.” You should look for UV protective (also called Conservation Clear) or anti-reflective glass or acrylic options when framing their photographic prints to protect them from the effects of sunlight. 

Which condition issues should I be on the lookout for?

Strauss & Co’s cataloguers carefully check the condition of each artwork before it goes to auction. You will find notes on the physical state of the works in condition reports that can be requested from the lot pages on our website.

Common condition concerns that can be found in photographic prints are: fading or yellowing from exposure to light, foxing from humidity or oxidation and creases or scratches from handling. The extent of the damage may affect the value of the work, which highlights the importance of archival framing and taking care with the installation or storage of your prints.