From Solid Wood Frames to Giclée prints: Quality that you'll love for years.

It’s every photographer’s dream to have their photos become finished works of art. To know that something you’ve made is up on someone’s wall, in a book, or in a gallery – it’s an extraordinary feeling of accomplishment. I work with one of the best photo labs in the world to produce truly amazing museum-quality framed and mounted art pieces.

For each piece I have carefully selected the highest quality materials that complement the tone and nuance of the artwork itself.

Floater Frames

With a 7mm gap between the artwork and the frame edges, this style creates a sophisticated, sleek, and minimalist art piece. Our floater frames are 100% wood and are available in five colors: White, Black Oak, Natural Oak, Brown Alder, and Walnut.

For floater frames, I currently offer one type of paper called Fuji Crystal Archive, glossy, which is mounted under 0.08-inch acrylic glass.

All of the floater frames art pieces on the Scott Allen Wilson shop are made with robust hanging hardware. So, your art piece is ready to hang as soon as it arrives.

Why Floater Frames?

Floater frames create a clean, gallery-style finish that, when carefully color-matched, can enhance the artwork. They are designed to give the illusion that the artwork is actually “floating” in the frame, hence the name. This gives a unique sense of depth and sophistication while ensuring 100% of the artwork is visible.

Archive Quality Paper

All of the artworks for floating frames are printed on premium Fuji Crystal Archive Glossy paper, an archival-grade photographic paper. It’s designed to not fade, even with exposure to light, so the artwork will remain in perfect condition. The colors stay rich and punchy and even the finer details don’t blur or blend. I chose this paper for its pure whiteness which makes vibrant colors and doesn’t blend crisp details, so even writing on buildings in the artwork are captured just as I intended them to be.

I only use a high-shine glossy finish, as it’s the perfect match for the stylish floating frames. Matte papers tend to diffuse reflection, which softens the surface and may reduce the depth and vibrancy of the colors.

The combination of Fujifilm Crystal Archive Glossy paper and floating frames truly elevates the richness and dimension of each piece, and I know your artwork will look just as stunning in your home or workplace as it did on the very first day it arrived.

Traditional Frames with Passe-partout

Frames with passe-partout (also known as a mount, or mat) are a timeless way to showcase your Scott Allen Wilson artwork. They are often used in galleries and museums for a classic and elegant look.

We offer this traditional 100% wood framing in ebony and white to compliment and contrast the color in the art.

Passe-partouts: Why They Matter

Passe-partouts act as a secondary frame around the artwork, creating a small visual boundary between the image and the outer frame. This separation naturally draws the viewer’s eye inward, giving the artwork more presence and impact.

It also adds an additional layer of protection, helping the piece “breathe” and preserving it over the long term.

I use acid-free passe-partouts made from purified alpha cellulose, the same museum-grade material used for gallery and archival prints. They’re completely free of acidity so they won’t yellow, damage, or discolor the artwork over time.

They are designed to maintain their quality for 75+ years. The standard thickness is 2 mm, and the borders are 3 cm, which creates a clean, elegant proportion around the artwork.

Harmonizing the Passe-partout and Prints

In the Scott Allen Wilson shop, passe-partouts are available in Bright White, Natural White, Anthracite, and Black. When selecting which one to use for each artwork, I consider how the tone interacts with both the image and the frame:

Natural White – A soft, slightly warm white that pairs beautifully with colour photographs. It’s actually my go-to for most white and ebony frames, as it adds warmth without overwhelming the image.
Bright White – A crisp, punchy white that works especially well with black-and-white photographs. It enhances contrast and makes monochrome images feel even more striking.
Anthracite – A deep charcoal tone ideal for darker images. I use it when a white passe-partout would create too much contrast and distract from the artwork. Anthracite maintains focus while adding subtle depth.
Black – Used more selectively, especially when a bold, dramatic border serves the composition.

Each choice is intentional and is based on aesthetics, balance, and what best elevates the mood of the photograph. The goal is always to let the art shine without competing elements.

Printing Paper for Traditional Frames

For these art pieces we use museum-quality Hahnemühle FineArt Pearl paper using the archival Giclée printing method, designed to last 100+ years. This paper has a beautiful pearl sheen, exceptional colour depth, and a heavier weight that lasts especially well in more humid environments.

Interested in knowing more about my creative process? In my previous blog Start to Finish – Post Production Behind the Scenes, I take you through how I prepare each piece for print, how I choose the ideal frame and passe-partout combinations, and the artistic reasoning behind those decisions.

If you’d like to see how my work looks in real spaces, visit my inspiration page, a gallery-style collection showcasing my art. It’s a great place to explore how different pieces can complement your own design style.

And, of course, you can explore the shop with confidence, knowing you’re investing in gallery-grade, 100% high-quality artwork. It’s crafted to last, designed to inspire, and produced to the highest archival standards.