Generally, photographs benefit from a simple presentation.  There are not too many photos that would benefit from being placed in an ornately carved, gilded frame, for example.  The framing and matting should not distract from the photographic image, but merely guide the viewer's eye into the image itself, while at the same time binding the whole together as a cohesive visual unit.

In the illustration at right, the natural wood frame and almost-black double mat compliment the image nicely, while letting the image itself shine through. Roll your mouse over the image to see how the colors of a frame and mat can effectively coordinate with the colors and textures in the photo.

Acids from the mat, backing, and adhesives may, over time, attack the artwork, so if extended longevity of your framed photograph is a concern, you should specify archival (i.e. acid-free) mounting materials.

 

The frame

Frames with simple cross-sections seem to work best for photographs.  A plain flat, beveled, or gently rounded frame face provides the necessary sense of enclosure without competing for attention.  Frames are available in many  different widths, but most photographs do well in narrow or medium-width frames.  Many photographs are seen mounted in very narrow. simple square-edged metal frames,  (often black or silver), because these are the least expensive and, some photographers feel, provide the least distraction from the image.  I personally believe a somewhat wider frame lends a more substantial presence to a photograph, so I usually frame my pictures with frames up to 1 1/4 inches wide. 

The most common frame materials are metal and wood.  The metal types are usually aluminum extrusions, anodized or painted in a wide range of colors.  Wood frames are also available in a variety of painted or stained colors, as well as natural finishes.  The color of the frame should be chosen taking into account the colors in the image, the color(s) of the mat(s), and possibly the colors of the surroundings in which the photograph is to be displayed.  Black and white photographs, I think, should usually be in a neutral-colored frame, i.e. black, silver, gray, pewter, etc. (although b&w photos can sometimes look good in a light, naturally finished wood frame; to see an example, roll your mouse over the image in "The mat" section below), and color photographs can also look very nice with a neutral frame.  If a colored frame is desired, it should somehow coordinate with a color in the image or the mat.  Strongly saturated frame colors tend to look garrish and distracting, so if you're choosing a colored frame, keep it low-key.

 

The mat

The mat provides a visual calm space between the image and the frame, and also serves to keep the surface of the photograph from touching the glazing.  A fine art photograph needs a mat to separate the image from its surroundings and provide the eye with "breathing room" to concentrate on the image itself.  A snapshot framed without a mat looks O.K., but a nice landscape framed without a mat is an injustice.  A single mat is fine, but a double, and sometimes even a triple layer of matting adds a  richness and depth that a single mat cannot provide.   In a double mat scheme, the top mat is cut a little narrower than the bottom mat, so that a narrow portion of the bottom mat is revealed.  The two mats may be of different colors.  Sometimes a portion of the print's white border (if it has one) is used to form a reveal.  Wherever there are multiple reveals, it's usually best to make them of clearly different widths, as in the illustration below left.   

 The color of the mats are chosen with reference to the colors in the image, frame, and possibly the surroundings in which the picture is to be hung.  For black and white images, I usually chose a white or off-white mat color, but occasionally a near-black mat works nicely.  I also find that a triple mat often sets off a monochorme image wonderfully.  We are used to seeing color images matted in white or off-white, but gray or near-black can work well also.  For an extra-special touch, color images may be framed with subdued mat colors that coordinate with or pick up colors in the image.  I try to avoid bright white mats and pure black mats, as these may tend to make the highlights and shadows (respectively) in the image look dull. Some good examples of how the mat color affects the presentation of the photograph are to be found here on Dale Cotton's site.

The corner of this triple-matted monochrome photograph at left shows how the mats overlap one another.  I used a third mat for the wide reveal instead of using the white border of the print itself, because the bright white of the print border did not match the off-white of the mats, and I felt it made for a subtle but unpleasant contrast.  This is a small point, and simply a matter of personal preference--many people would probably think it would look fine either way.  The frame is aluminum with a charcoal gray finish.

The overall width of the mat border is subject to considerable latitude.  If too wide, however, the image tends to be overwhelmed by the mat, although in the case of particularly small prints this can actually lend an air of importance to the image.  If too narrow, the mat fails to provide sufficient visual isolation of the image, and simply looks skimpy. Once the width of the mat(s) has been determined,  the most pleasing configuration generally has the top and side borders of equal widths, with the bottom border being slightly wider to counteract a visual effect that tends to make the bottom border seem narrower.  If you're using an off-the-shelf frame, however, you will have less flexibility in choosing your mat width.

 

The glazing

Glass and plastic are the two choices here.  Ultraviolet-blocking glass may be had for a premium, but it's really not clear (pardon the pun) how much extra protection against fading this really offers.  Anti-glare glass (with a slightly frosted look) is available also, but it does tend to dull the picture a little.  Museum glass and Denglas have actual anti-reflection coatings that are very effective in reducing the glare problem, and are easily the most expensive type of glazing, but in situations where the picture hangs directly opposite to a bright source of light (such as a window), the extra cost may well be justified.  It may also be justified if you simply want the best presentation possible for your photo.   Among the plastics,  acrylic is pretty standard.  Avoid any plastic that is so thin that it won't stay flat.  I personally prefer plastic glazing.  It significantly lessens the weight of the framed photo, and is easier to handle if you are a do-it-yourself type, but of course it requires more care in handling and cleaning because it is easier to scratch than glass.

 

Choosing an appropriate mat and frame combination

There's no substitute for being able to see your photograph juxtaposed against actual samples of candidate mats and frames.  Frame shops and art stores that offer framing services have a wide selection of sample frames and mats that can be held up right next to your photograph, letting you easily swap styles and colors until you find ones that work best.  The people that staff these shops usually have a good aesthetic sense of what looks good and what doesn't, so they can help you select the appropriate elements to best compliment your fine art. 

Another option is to visit one of the internet-based framing shops.  In this case, you look at mat color samples and frame styles displayed onscreen.  It's  possible to save a significant amount of money by buying the framing materials online, however, the colors you see on your screen are probably not very accurate. Some of the online framers sell a sample pack of mat swatches so that you can see the actual colors against your print.  

One of the least expensive options is to place the artwork in a ready-made mat and frame.  These come in a range of standard sizes.  However, since the width/height ratio of my prints is chosen based upon what I feel produces the optimal composition, many of my images do not correspond to a standard size.   So, of you buy a ready-made frame, you may have to get custom-cut matting for it. 

 

What's it going to cost?

Good framing isn't inexpensive, and you may find that the framing costs you more that the original artwork.  Ready-made materials are the cheapest, but offer the least possibililty for getting the maximum aesthetic enjoyment from your print.  There are many local and online sources for custom framing materials, so, if you're so inclined, you can shop around, assemble the materials yourself, and save some money.  The easiest route is to have the framing done for you by a competent framing shop or art store.  If you choose to buy materials online, especially mats, be aware that the colors you see on your monitor may be significantly different from the actual material you receive.  Again, purchasing locally enables you to evaluate actual sample colors, and obtain on-the-spot advice from knowledgeable framing people.