Traditionally a real fine art print was always limited edition but never called "limited edition." It's like like calling champagne real french bubbly wine. It is that, but you didn't need to say. The artist was not a machine so he or she could only make so many prints at a time. They typically number them, and reserve a few for themselves called artists proofs. It's only in more recent times that the artist can theoretically make as many prints as they want, so they purposefully limit production to increase scarcity and thereby increase collectability.
Most art prints today are what is called a giclee, a fancy computer ink jet print made on good paper with fade resistant ( archival) ink. Photographs will be similar, not necessarily called giclee. Some more traditional method like a silver gelatin print will be well advertised as a selling point. In digital times nothing is really limited in terms of the ways it can be reproduced.
So basically with prints, it's a couple things. How it was made--it's either traditional-- etchings and engravings and other intaglio method prints, lithographs, stencil or silk screen (serigraph), relief prints like wood block, linoleum cuts, letterpress, etc., maybe a few other methods, or non traditional--some kind of xerox or digital copy or computer print. Can be one color or many colors.
Then, it should be signed (or initialed or stamped) and numbered-- like 41/100 meaning print 41 out of 100 total. Unless it's really valuable and old, before artists began doing that. Paper type is also important. No wood pulp, only "rag" (cotton) paper or Asian "rice" paper (thin high quality paper made from different fibers, not rice). "Acid free" (buffered wood pulp) paper is ok for a cheap print.