ROMA Moulding Framed Photography

Luxury Fine Art ROMA Moulding Custom Frames

One of my favorite styles of framing is using beautiful natural wood moldings from ROMA Moulding. The rich texture and natural colors accentuate the beauty of the photo and compliment the style for an exclusive rich look. I personally build every frame and a liner for a 100% artisan product. All moldings I use are Italian Imports.

ROMA Moulding custom frame

ROMA Tabacchino Collection

This collection comes in 5 different tones from light brown to near black. I find myself most often using 3 of them. Those are Tobacco Leaf, Cigar Leaf, and Dark Ash.

ROMA Tabacchino Frames

A four-inch wide frame combined with a custom seamless linen-wrapped liner creates an amazing combination. It draws focus tho the photo and provides plenty of separation from the display environment.

ROMA Moulding Tabacchino Frames

ROMA Moulding Tabacchino custom frame

One of the popular combinations is with a 2.5″ wide scooped liner.

ROMA Tabacchino

Spirit of the Earth ROMA Tabacchino

ROMA Tabacchino Dark Ash

ROMA Moulding Tabacchino Dark Ash

ROMA Moulding Tabacchino Cigar Leaf

Custom Framed Photography Fine Art

Matching a frame to an image and making sure it blends well with the room interior is an important step in the production of an artwork. The subject of the photograph must pair well with the color and texture of the frame to create visual harmony. In my daily routine, I often ask my customers to share photos of their homes to understand the environment where the artwork will be displayed. To be thorough, I take into an account wall color, style of furnishing, and amount of natural light.

I also offer a variety of high-quality moldings from other manufacturers. Some of the examples include Italian Olive Frames that rival ROMA Moulding in quality and feel.


These frames have a deeper rabbet cut than ROMA Tabachino and work very nice with scooped liners.

Italian Olive Light

Custom Framed Fine Art

Italian Olive Frame

Italian Olive Frame

Italian Olive Frame

Italian Olive Frame

Italian Olive Dark Ash

Linen Wrapped Liners

Why use a liner? There is a tradition when framing visual art to provide separation of the artwork from the external environment. There are no special rules and many artists make a point in displaying their art in minimalistic frames or entirely frameless. I believe a well matching frame adds a lot to the piece of art and while being an important visual part of the whole art piece it requires some spacing from the picture.

black linen wrapped liner

If there is the room I love wide beveled liners that provide maximum separation at no expense to the size of the print. In situations where adding a wide liner to the piece will come at an expense of the print size, I offer narrower liner options. Those liners nevertheless create an amazing depth contrast between the planes of the frame and the print itself.

scooped linen wrapped liner

Many framing shops offer chopped prewrapped liners they buy from wholesale framing manufacturers. It is much cheaper and doesn’t require as much effort. These liners exhibit a characteristic seam at the joint corner.


While this is fine for scooped liners, leaving a seam while using a flat beveled liner looks sloppy in my opinion. Liner cleaning may involve dusting or brushing and with time it will loosen the thread at the joining making it even more unsightly.

That’s why I only offer hand-wrapped seamless liners. I build my own beveled liners from dry poplar stock. Those are carefully primed and built to accept the acrylic mounted print. Only then I hand-wrap them with a single piece of black canvas. The process is long and labor-intensive but it yields the most uniform and premium look.



FujiFlex and Fuji Crystal

Is FujiFlex an Ultimate Photo Paper?

I this article I will discuss the latest technologies used for fine art printing and go over the advantages and disadvantages of each medium. The FujiFlex and Fuji Crystal are the very frequently mentioned brand names of fine art paper that are used by many prominent photographers. One of the promoters of the technique was Peter Lik that popularised luxury photography. His works have raised many questions about the light performance of the finished prints. Why do the prints appear backlit? What makes them behave that way?


FujiFlex and Fuji Crystal Silver Halide papers

The silver halide photo technology is several decades old. Therefore probably everyone has a relationship with it for many years when we order color prints from a local print-shop. The technique involved the projection of the color negative onto the unexposed photographic paper. Once exposed the print has to go through series of chemicals to develop and fix the image. Many of you, if you were interested in photography saw the photo enlarger equipment.

photo enlarger

I had my share of time spent in the darkroom. And you must agree that there is a practical limitation of the print size that can be produced that way. With the invention of LightJet printers, it became possible to expose large format prints using the RGB laser beam. The machines like Lambda could produce 50″ x 120″ prints. After the exposure, the print still has to be treated using a wet chemical process where the print is being plunged into various chemical solutions.

FujiFlex photo paper process

These machines are also called “continuous tone” or C-Type printers in comparison to pixel dot inkJet printers. Most continuous tone printers deliver a final product printed on Fujifilm Crystal Archive or Kodak Endura paper in sizes up to at least 4×10 feet.

What about Ink-Jet technology?

For many years the Ink-Jet was a swear word among professional photographers. The first ink-Jet printers were lacking in resolution, color accuracy, and longevity. All that started to change with the introduction of pigment ink. Printing resolution and color accuracy have come close and many producers claim that it has surpassed that of a chemical process. These days it becomes really hard to find a pro printing shop that still uses a wide-format chemical process. Just because of the costs associated with maintaining heavy machines like the LightJet printer. And the need to maintain consistency of chemicals in day-to-day operation. Modern inkjet machines can produce prints up to 60″ wide on a very wide selection of fine-art papers. Modern inkjet metallic papers rival the performance of silver halide traditional photopapers.


While C-Type printers can offer you a traditional gloss or matt finish. Inkjet fine art media include Gloss, Satin, Matte, Perl, Metallic, Fibre, Velvet, Photorag, Etched, Fiber-based, Resin-coated, various canvases, and many other varieties.

How about the look? Are C-Type prints superior to pigment prints? Let’s do some visual comparison.

FujiFlex vs InkJet Prints

In terms of surface properties, you can easily identify C-Type prints for their slick glossy surface. This difference disappears when prints are mounted on acrylic. When you look at color accuracy and vibrance, there is really no difference as you can see from the side-by-side comparison above. On the image above you can see FujiFlex C-Type print on top and pigment ink on metallic paper on the bottom.

How Long Will My Print Last?

Some of the recent longevity numbers indicate that chemically processed C-Type doesn’t last as long as modern pigment ink prints. Professional high-quality pigment prints also have one advantage. If you know what printer, ink, and paper are used you are virtually guaranteed that you are getting an archival product. A digital C Print depends on how well the equipment to process the print is maintained and the freshness and type of chemistry.

print permanence fuji vs ink

Of course, print permanence greatly depends on the display conditions. Perception of color by the observer. Amount of light the print will see. And many other things from environmental conditions to the freshness of chemicals used in the development process.

I will amend this article with more comparative photos. Showing you both types of prints side by side. Lightfastness tests, and in the meantime, I hope you have learned something new.


Wilhelm Research, The Permanence, and care of analog and digital photographs – FotoCoservacion 2011, June 20-23, 2011

Deterioration risk as determined by the University of Illinois,

Wilhelm Research – HP Indigo Digital Presses – Print and Photobook Page Permanence

A Survey of Print Permanence in 4×6-Inch Consumer Digital Print Market 2004-2007,

Kodak Endura Photopaper datasheet.

Kodak uses different permanence testing standards than Wilhelm Research,