Welcome to my Frequently Asked Questions (FAQ) page!

Before we begin, let me put my Gold Standard information in front of you, so you have an understanding of how I think about getting my photographs out into the world.


In the words of one of my teachers, Ansel Adams, "I don't take a photograph, I make a photograph." Well said! I consider each individual photograph when thinking of materials to use and sizes to print. This is a handmade product, and every element of the process is carefully considered. I use extremely high-end materials, which are hand selected. If I don't print the photograph myself, I make myself intrinsic to the process, so I'm sure my buyer is getting the artwork I intended. Anything less cuts into the quality of the image and the result is an unhappy artist, and potentially unhappy customer! And I am all about making you, and myself, happy. If I haven't answered one of your questions on this page, please send me an email, or give me a call. I'm here to help you on your collection journey.


How is fine art photography different from other photography?

This is a tough and far-ranging question with a lot of softness in the answer, which is why this section is so long! But here goes:


A fine art photographer uses a personal approach, as opposed to a commercial approach. The goal is getting to the heart of the aesthetics of the subject instead of documentation. The photo is created from the artist's heart and unique voice, and has no connection to what another entity (like a news outlet) or person demands. We are driven by intuitive creativity instead of objective representation, and our goal is to express ideas, messages and emotions, not just to record an event.

A fine art photograph requires the viewer to critically engage and invest in interpreting the image, and asks that they personally connect with the content. Other photography makes aesthetics secondary to the goal of promoting a product or idea of immediate value. Typically, work that is not fine art involves literalism and realistic approaches to the subject matter. Fine art photography explores that which is not obvious or accessible to the human eye, which is magnified so a different aspect of the world can be shown.

Art is a door to the mysteries of life that is not superficial, and the artwork contains a depth to see beyond as its main characteristic. 

Fine art photography is the result of the concept, feeling, and idea that exists only in the mind of that artist. The artist materializes that into a unique image.

Fine art photography is in contrast to representational photography, such as photojournalism, which provides a documentary account of objective reality rather than the subjective intent of the photographer. The inclusion of photojournalism into collections of fine art in museums is because the subjective intent of the photographer was visible in those photojournalists' work. Examples of artists of that capability are Dorothea Lange, W. Eugene Smith and Walker Evans.

Being an artist is related to self-knowledge. It's about emptying yourself and removing the layers that have hidden the unique and unrepeatable part of yourself. Something magically miraculous happens, and that is art, whether it's painting, sculpture, photography, music, or any endeavor resulting from human creativity.

How should I care for my archival photograph?

Avoid bright sunlight! If it shines on the face of the photograph for extended periods of time, that can damage the artwork over time. Protect your photo from physical handling and contact. Use adequate anchors to hold the artwork on the wall. Always pick up photos larger than a sheet of paper using both hands, and never touch the actual image, just the edges.

Why is metal not listed as a substrate choice?

Aluminum is very soft in its 99% pure form, but does not corrode (think aluminum foil). Photographs with a backing of just aluminum need an aluminum alloy to add stiffness. Alloys that are stiff enough have short lives due to several forms of corrosion from the mixture of other metals with aluminum. Even in dry climates, the metal corrodes as crystals of contrasting metals react to each other internally. The alternative is to use DiBond backing, made from stiff plastic foam core sandwiched between two sheets of pure aluminum. For larger paper prints, I prefer to use DiBond for its archival and virtually indestructible properties.

Why is acrylic not listed as a substrate choice?

Acrylic plastics are inert materials, on the good side. On the bad side, they scratch easily, eventually lose clarity, and are subject to cracking as the material ages. It's great material to put in front of a photograph, but only if it's installed to not actually touch the photo. I use acrylic in framing over a print on paper as the most reliable protection. (Glass is more brittle than acrylic, and dangerous when broken.) Sometimes acrylic is laminated with a clear mylar tape which is stuck to the front or back of the photo for a sleek, brilliant look. I don't offer this because any damage or degradation to acrylic ruins the entire artwork. My methods of mounting and displaying fine art photographs are limited to those methods that are known to be indefinite archival, lasting materials. Your artwork should last many hundreds of years.

Why aren't some of your photos available in all sizes?

I make art I consider to have depth and meaning far beyond our own lifetimes. Depending on the intention and technique used to make the photograph, some sizes would be inappropriate for that particular artwork. Ex: the photograph was made on a fast-reacting film, adding graininess when blown up, and ruining the intention of the artist. I also limit the size offered when I consider the embedded meaning of an image. A photograph with many elements and shapes may look and feel too condensed in a smaller size, elements that blossom when made larger. I just can't treat a fine art photo like a commodity, if the wrong size feels like the wrong aesthetic.

What do the terms "limited edition" and "open edition" mean?

In an open edition, the artist makes as many copies of the same work as they choose. A limited edition is a predetermined number of copies, such as a limited edition of twelve.  The advantage of the open edition to the artist is that the artwork may have greater income potential if the image is popular, and the advantage to the buyer is that the price is usually lower. I offer some open editions on the two smallest sized prints, I use good quality archival paper, and I sign them.

A limited edition is for a buyer who thinks of an artwork as something to collect, as opposed to something decorative. I do my limited editions for that buyer, on the presumption that at some point in time it will add to the value of the artwork. The limited edition concept is one reason that at a recent auction a contemporary photograph sold for over three million dollars US. To help my collectors understand the value I put on my creative ability and extensive history, I make work available in medium to large sizes in limited editions.


In considering the frame, I use only wood made from recycled wood products. Not only is this environmentally friendly, but it ensures that no chemical is a threat to the longevity of the artwork.

How long can I expect a work on paper or canvas to last?

Four things are the enemy of an artwork: the material being printed on, extreme light, pollution, and moisture. If none of these is a threat, scientific studies promise more than a century of longevity, and possibly a great deal more. I do everything I can on my end to mitigate these threats, but once the photograph is out of my hands, the only thing I had control over in the end is the material upon which the photo is printed.

Will my photograph gain in value over time?

In some situations, yes. If the value goes up, as has happened to some photographs, some or a lot of gain can be realized when sold in the secondary auctions market and on commission with galleries that specialize in that artist or type of work or theme.

Are photographs developed in the darkroom more valuable than digitally printed photographs?

Generally speaking, no. Photos made in the chemical darkroom are sometimes valuable because of their vintage and reputation of the artist. On the other hand, in contemporary photography, some limited edition photographs have sold for a million dollars or more. As an example in one recent auction, one was a black and white vintage print and one was a digital color print.

What should I look for in collecting photographs or fine art?

It depends on your purpose. Are you trying to:

  •     add decoration to a room that goes with or enhances objects already there?

  •     have the subject matter relevant to a location or something in the past or ongoing in your life?

  •     collect? If so it's better to have a coherent theme.

  •     show and/or engage with your passion about the artist?

  •     show and/or engage with the historical perspective and vintage?

  •     show that you like a particular style, e.g. Deco?

...and last, but most importantly, consider if the artwork means something to you, makes you feel good, and some part of your life is enhanced by having this in your life.

Is buying art online a safe way to collect?
Yes, but do your homework! Find reviews about the artist or whomever you're purchasing from online. Check into the artists' background: what is their CV, solo exhibits, media coverage over the years, record of getting foundation awards, and artist residencies. Do they have a commercial book? Are they an established artist? If not, are you still willing to pay whatever price they are asking for their work?

© 2020 by Larry D'Attilio

All images on this site were created by Larry D'Attilio. Please credit when sharing.
Proudly created with Wix.com

Facebook                     Instagram                     LinkedIn