A big print of a small file is a bad print, and I won't sell you one.

Every image has a maximum — Listed beside it. It comes from the file and from the shot, not from what somebody is willing to pay
Ask for bigger and it's a no — With the reason, and usually with a different image that will carry the size you wanted
Why detail isn't the whole story — Grain, focus and camera shake all enlarge too. A file can have the pixels and still not have the print in it
Viewing distance matters — A big print seen from across a room forgives a great deal. Say where it's going and the answer sometimes changes
Paper changes it too — A soft matt paper hides more than a smooth one shows. That is a real reason to pick one over the other
What you'll be told — The honest maximum, and whether you are near it. Nobody has ever regretted the slightly smaller print

A limited edition — A stated number, each one numbered and signed. When they are gone, that size is not printed again in that edition
An open edition — Printed as long as people want it. Same paper, same ink, same hands — the print itself is identical
Which is 'better' — Neither. Scarcity is a pricing decision rather than a quality one, and any page that implies otherwise is selling you the number
What happens near the end — The price rises, and it says so before you buy rather than afterwards. The last few are always the dearest
Different sizes, different editions — A limited run at one size doesn't restrict another. That is stated because it is the commonest misunderstanding
The certificate — Signed, numbered, and it travels with the print. Replace this line with whatever you actually issue

Direct sun, not time — A print in daylight for a few years will suffer more than one in a hallway for thirty. Position beats everything else
The lifespan figure — Comes from the paper and ink maker, under their test conditions. Put theirs here rather than a number of your own
What their figure assumes — Indoor display, behind glass, out of direct sun. A room that doesn't match the assumption doesn't get the result
Glass is worth the money — UV glazing costs more and does more than anything else you can buy. Ask a framer for it by name
Damp does the rest — Bathrooms and outside walls. A print that ripples has usually met moisture rather than heat
Handling — Edges and cotton gloves for the first hanging. After that it lives on a wall like anything else and shouldn't be fussed over

A local framer is usually better — And often cheaper than a shipped frame, because you aren't paying to move glass across a country
You get to hold it against the wall — With the mount options in your hand, in your own light. No photograph of a frame tells you that
Glass survives the journey — Framed prints arrive broken far more often than anybody admits. Unframed ones essentially don't
What to ask for — UV glazing, an acid-free mount, and a gap between the print and the glass. Those three, in that order
What it should cost — Roughly what the print cost, for a good job at this size. If a quote is triple that, get a second one
If you'd rather not — A ready-made frame from anywhere is fine and always has been. The print does not know what it is in

Direct — Message below and an invoice follows. Slowest of the three and the one where you can ask for something unusual
The print shop — The button below goes to the store. Fastest, and the right answer for a standard size on a standard paper
A gallery — For limited editions above the largest size here, and for anything framed. They handle it end to end
Which is cheapest — The shop, usually, and you'll be told when it isn't. Being sent to the cheaper route loses one sale and keeps a buyer