Before being mounted, prints destined for sale or exhibition undergo a painstaking and rigorous process of “stabilisation” (which ensures the long-term preservation of photographic printing).
In my darkroom I monitor the entire chemical process and the subsequent, all-important washing of the prints in a strict and disciplined manner. Primarily, all the water I use in the darkroom passes through special filters that purify it and trap even the smallest impurities, I only use “fresh”, premium quality chemicals. Obviously the whole procedure is standardised for maximum precision, from the dilution of the chemical compounds, to the temperature of the solutions, and the respective immersion time the prints spend in it.
To guarantee maximum photographic printing longevity, I subject the prints to a double-fixing treatment and a short but very important selenium toner treatment (thanks to a chemical reaction, it has strong stabilising potential). A essential and thorough cleaning process follows via the “hypo clearing” procedure which takes place in a special washing machine designed specifically for cleaning of photographic prints. Only after using a large quantity of pre-filtered running water which is maintained at a constant temperature of about 20°, is this machine, (thanks to its distinctive features) able to remove all chemical agents, primarily fixing residue, which otherwise, over time, would inevitably lead to print deterioration.
Anyone who buys one of my photographs can be sure that it will remain completely unchanged for many years, perhaps centuries. On my own I personally also run the phases of assembly of the prints on the cards of support, and the realization of the passepartout dedicated. Both media have high retention characteristics,
and are classified:
The boards used are 100% natural and meet the most stringent preservation tests, ensuring that the prints will be protected for years to come. A heat press is used for the photo mounting process. A special thermal adhesive sheet is inserted between the press and the backing board, the three surfaces are placed in the heat press for a predetermined time.
The heat activates the adhesive which, by means of the pressure to which it subjected, inextricably welds the print to the backing board. This arrangement gives the photograph a flat image plane, and unequalled,
On the back of the card holder I apply my stamp, which contains all the necessary information to the cataloging of the photograph, where I point: traditional silver gelatin print, title of the photograph, the date of realization of the negative, the date of completion of printing, number sequential printing and signing.