Whether you're meeting clients, interviewing for jobs, or showing work to galleries, how you present photographs matters as much as the photographs themselves. A pristine print in a shabby portfolio undermines your work; a well-organized presentation signals professionalism before anyone sees your images.

Portfolio books hold prints in protective sleeves, allowing viewers to flip through your work page by page. Standard sizes—11×14, 14×17, 17×22—accommodate common print dimensions with room for matting. Choose a portfolio at least one size larger than your prints to allow breathing room.

Presentation cases carry loose mounted prints for situations where you want viewers handling individual pieces rather than turning pages. Essential for gallery submissions and client reviews where prints will be examined closely.

Display books with archival refill pages let you customize the number and arrangement of images, adding or removing work as your portfolio evolves.

Mounting attaches a print to a rigid backing; matting surrounds it with a border that separates the image from the frame. Both serve practical and aesthetic purposes—mounting prevents curling and makes prints easier to handle, while matting provides visual breathing room and keeps glazing from touching the print surface.

Mounting boards provide the rigid backing. For archival work, choose acid-free boards; for temporary display or commercial work where prints will be replaced, standard foam core works fine.

Mat boards come in countless colors, but photographers typically stick with white, off-white, or black. The mat should complement the image without competing with it. Standard mat border is 2-3 inches on sides and top, slightly more on bottom (this visual weighting is traditional but not mandatory).

How you attach a print to its backing depends on the print's value, intended use, and whether reversibility matters.

Dry mounting uses heat-activated tissue to permanently bond a print to backing board. The result is perfectly flat, professional-looking, and how Ansel Adams presented his work. However, it's permanent—the print can't be removed without damage. Fine for exhibition prints and commercial work; controversial for collectible fine art where future conservation might be needed.

Corner mounting uses photo corners to hold the print by its edges without any adhesive touching the image. Completely reversible and the standard for archival presentation of valuable prints. The print can be removed at any time without damage.

Hinge mounting attaches the print at the top edge only, using Japanese tissue and wheat starch paste. The print hangs from its hinges, free to expand and contract with humidity. This is museum conservation standard—fully reversible, with materials that won't damage the print over decades. Requires more skill than corner mounting.

Cold mounting uses pressure-sensitive adhesives without heat. Better than dry mounting for digital inkjet prints, which can be heat-sensitive. Semi-permanent—some formulations allow removal, though not as cleanly as corner or hinge mounting.

Framing protects photographs from physical damage and environmental degradation while presenting them attractively. For detailed framing guidance, see our Framing Guide—here we'll cover photographer-specific considerations.

Frame profiles: Photographs typically look best in simple, understated frames that don't compete with the image. Thin metal frames (black, silver) and simple wood profiles dominate photography exhibition. Ornate frames usually fight with photographic images.

Glazing matters: Glass protects from dust and physical contact but creates reflections. Museum glass (anti-reflective, UV-filtering) solves both problems but costs significantly more. Acrylic glazing weighs less than glass—important for large prints—but scratches more easily. For valuable prints, UV-filtering glazing prevents fading.

Spacers: When matting, the mat itself provides separation between print and glazing. For unmatted prints (float mounting or prints running to frame edge), spacers or a shadow box frame prevent the glazing from touching the print surface—critical for any print with even slight texture.

Photographs are chemically reactive objects. Light fades them, acids attack them, humidity warps them, improper storage accelerates all three. Archival storage means materials that won't damage photographs and environments that slow degradation.

Photography storage systems include archival boxes, sleeves, and interleaving materials designed specifically for photographic materials.

For prints: Store flat in acid-free boxes with acid-free tissue between prints. Avoid plastic sleeves for long-term storage of fiber-based prints (they need to breathe); archival paper enclosures work better. RC (resin-coated) prints tolerate plastic sleeves better.

For negatives: Archival negative sleeves (Print File is the standard brand) hold strips of negatives in clear sleeves that fit three-ring binders. Keep negatives away from prints—negatives can off-gas chemicals that damage nearby photographs.

For slides: Archival slide pages hold mounted transparencies in individual pockets. As with negatives, store separately from prints.

For detailed information on archival terminology and materials, see our Storage Guide.

Photo albums serve two purposes: organized presentation and long-term storage. Professional-quality albums handle both.

For archival albums, the same rules apply as for any photograph storage: acid-free pages, photo-safe mounting methods (corners rather than adhesive), and materials that pass the Photographic Activity Test (PAT). Avoid magnetic albums (sticky pages with plastic overlay)—the adhesive and PVC damage photographs over time, often permanently bonding prints to pages.

For portfolio presentation, quality matters visually as well as archivally. Leather or bookcloth covers, lay-flat binding, and substantial page weight all signal professionalism.

Getting prints safely from your studio to clients, galleries, or competitions requires proper packing. For comprehensive shipping guidance, see our Transporting Guide—here's the photographer-specific summary.

Flat prints: Sandwich between stiff cardboard (not corrugated, which can leave impressions), place in a slightly larger box, fill voids so nothing shifts. For valuable prints, use a sheet of glassine paper as the first layer touching the print surface.

Rolled prints: Shipping tubes work for some prints. Roll image-side out (prevents cracking), around a core (not on itself), with protective paper as the first layer. Note: don't roll fiber-based prints, thick papers, or anything mounted—they may crack or refuse to flatten.

Framed work: Tape an X across glass with painter's tape (holds shards if glass breaks). Wrap entire frame in bubble wrap. Use corner protectors. Ship in a box with 2-3 inches of cushioning on all sides.

Before color photography became practical, hand coloring was how photographs gained color—artists applied transparent oils, dyes, or watercolors to black-and-white prints. The technique never entirely disappeared, and today it occupies an interesting space between photography and painting.

Hand coloring supplies let you add color to black-and-white photographs, creating effects impossible to achieve digitally. The process is meditative, the results unique, and the learning curve gentler than it might seem.

Marshall's Photo Oils are the standard. These transparent oil colors are specifically formulated to adhere to photographic emulsion, with a proprietary binder that bonds to photo paper. They work best on fiber-based matte or semi-matte black-and-white prints. Apply with cotton balls, cotton swabs, or cotton wrapped around toothpicks. Build color gradually—it's easier to add more than to remove excess.

Photo pencils (Marshall's makes these too) offer more control for fine detail than oils. Better suited to smaller areas—eyes, lips, jewelry—where precision matters.

Print preparation: Many hand colorists use a preparatory solution (Marshall's PM Solution) that helps the paper accept color evenly and makes blending easier.

Which prints work: Fiber-based matte or semi-matte papers accept oils best. RC (resin-coated) papers work better with pencils than oils. Digital inkjet prints are unpredictable—test on a proof print first. Glossy surfaces of any type resist hand coloring.

Tip: Sepia-toned prints often look better hand colored than neutral black-and-white. The warm base harmonizes with added colors.

Lightboxes serve two distinct communities. Photographers use them to view and sort transparencies, negatives, and contact sheets. Artists use them to transfer and trace drawings.

For photographers working with film, a color-accurate lightbox (5000K daylight balance, high CRI rating above 90) matters for evaluating transparencies. This is a shrinking use case as film photography declines, but remains important for those still shooting and archiving film.

For artists, lightboxes have become essential tools for transferring sketches to final paper (especially expensive watercolor paper you don't want to erase on), creating animation frames, and tracing reference material. Brightness matters more than color accuracy for this use—you need to see through multiple layers of paper.

Modern LED lightboxes are thin, lightweight, and cool-running. Sizes range from A4 (roughly 8×12 inches) for portable use to A2 (roughly 17×24 inches) for large-format work. Most connect via USB and offer adjustable brightness. Artograph, Huion, and numerous other brands offer quality options at various price points.

Artists need to photograph their work for portfolios, websites, social media, insurance documentation, and gallery submissions. While professional art photography requires sophisticated equipment, decent documentation shots are achievable with basic gear and the right backdrop.

Photography backdrops provide clean, consistent backgrounds for photographing artwork and products.

Color choice: Neutral gray (18% gray specifically) is the most versatile backdrop color. It won't color-cast onto your artwork, provides accurate color reference, and can be lit to appear lighter or darker as needed. White backdrops work for light artwork but can fool camera meters into underexposure. Black backdrops work for dramatic presentation but can cause overexposure of the artwork.

Material choice: Seamless paper rolls offer smooth, crease-free backgrounds and can be cut off and replaced as they get dirty. Fabric backdrops are reusable and more durable but can wrinkle (muslin especially). Vinyl is durable and cleanable.

Basic setup: Even lighting from both sides (to minimize shadows), backdrop positioned far enough behind the work to go out of focus, and camera perpendicular to the artwork surface (to prevent keystoning distortion). A copy stand helps for flat work; a wall-mounted setup works for larger pieces.

Laminating films protect photographs from handling damage, moisture, and UV exposure. This is appropriate for working prints that will be handled repeatedly—reference photos, teaching materials, frequently displayed images—but not for archival or collectible prints.

Lamination is irreversible and alters the surface of the photograph. For valuable prints, use protective sleeves, proper framing with UV-filtering glazing, or archival enclosures instead.

What size portfolio should I buy?

Size to your largest finished presentation—mat and all, not just the print. If your largest prints are 11×14 matted to 16×20, you need a portfolio that accepts 16×20 sheets. Buy slightly larger than you currently need; you may want to go bigger later.

Should I dry mount my prints?

Dry mounting produces beautiful, perfectly flat results—Ansel Adams did it. For exhibition prints and commercial work, it's excellent. For potentially collectible fine art or irreplaceable prints, corner or hinge mounting preserves the option of future conservation work. Match the method to the print's purpose and value.

What's wrong with magnetic photo albums?

The adhesive pages and PVC plastic overlays in magnetic albums release chemicals that damage photographs over time. Prints can become permanently stuck, discolored, and deteriorated. If you have photographs in magnetic albums, consider carefully removing them before damage worsens.

How do I store negatives and prints together?

Don't store them together. Negatives can off-gas chemicals that damage prints. Keep negatives in their own archival sleeves and storage, separate from print storage.

Can I hand color digital prints?

Sometimes, but results are unpredictable. Inkjet coatings vary widely in how they accept hand coloring media. Test on a proof print before committing to a final version. Traditional Marshall's Photo Oils work best on fiber-based darkroom prints; digital prints often respond better to pencils or require surface preparation.

What lightbox size do I need?

For viewing 35mm slides and negatives, even small lightboxes work. For tracing and transferring drawings, match the lightbox to your paper size—A4 for most illustration work, A3 or larger for bigger formats. Brightness matters more than size for tracing through thick paper.

What color backdrop should I use for photographing artwork?

Neutral gray (18% gray) is safest—no color cast, accurate exposure reference, versatile for different lighting. White works for light-colored artwork but can trick camera meters. Black creates drama but can cause overexposure of the artwork itself.

How should I ship framed photographs?

Tape an X across the glass with painter's tape to hold shards if it breaks. Wrap the entire frame in bubble wrap. Use corner protectors. Ship in a box with 2-3 inches of cushioning on all sides. Consider removing glass and shipping separately for very valuable work, or using acrylic glazing which won't shatter.

What's the difference between archival and photo-safe?

They're related but not identical. "Archival" generally means acid-free, lignin-free materials that won't degrade over time. "Photo-safe" specifically means the material has passed the Photographic Activity Test (PAT) and won't damage photographs. Archival materials should be photo-safe, but always verify PAT certification for materials that will directly contact photographs.

Do I need museum glass?

Museum glass (anti-reflective, UV-filtering) dramatically improves viewing and protects prints from fading. It's expensive—sometimes more than the frame itself. For valuable work or pieces displayed in bright conditions, it's worth it. For everyday display in controlled lighting, standard glass or acrylic works fine.