For me, a photograph is not complete as a digital file. The final work exists as a physical object: printed, reviewed, signed, and documented in the studio.
I prepare and print each paper work myself, using archival materials and a slow, considered process. Every file is adjusted for its final dimensions and chosen paper, then reviewed carefully before it is accepted, signed, and recorded.
This approach comes from my early years in the darkroom, processing black-and-white film and making my own prints. That experience taught me to see the print not as a reproduction, but as the final form of the photograph itself.
Artist-Selected Format
Each photograph is offered in one format chosen for its composition and presence. A square image, a landscape, and a panorama are not forced into a generic product-size menu. The selected dimensions are part of the work.
Paper works are typically offered at approximately 16 inches in their shorter dimension, with the longer dimension determined by the image’s aspect ratio. Large format acrylic or metal prints may be available for some images.
Paper And Ink
Paper works are printed with archival pigment inks on Epson Legacy Platine, a 100% cotton-fibre fine-art paper with an OBA-free satin surface. This paper is selected for its tonal depth, rich blacks, and subtle texture, which support the quiet, sustained viewing the work is intended for.
Archival pigment inks are used for their stability and resistance to fading when the work is displayed and cared for appropriately. The combination of paper and ink is chosen to produce a print that will remain visually stable over time under normal interior conditions.
Studio Process
Every print begins with an image prepared specifically for its final dimensions and chosen paper. The file is adjusted for print, not simply sent to a machine.
After printing, the work is reviewed carefully for:
- Tonal balance and contrast
- Shadow and highlight detail
- Surface quality and consistency
- Overall alignment with my intended interpretation of the photograph
Only accepted prints are signed, entered into the studio archive, and prepared for shipment. This process limits the number of works that can be produced each year and ensures that each print meets my standard.
Signature And Archive
Each paper work is hand-signed and accompanied by a signed certificate of authenticity. Paper works are assigned individual sequential archive numbers, creating a continuing studio record of each physical print.
This system documents the work without representing a fixed numbered limited edition. The focus is on authorship, consistency, and a clear record rather than artificial scarcity.
Framing And Care
Paper works are supplied unframed unless otherwise specified. Conservation framing is available by consultation, using photo-safe, archival materials and appropriate spacing between the print and glazing.
For long-term enjoyment:
- Display the work away from direct sunlight and intense light sources.
- Avoid locations with high humidity, heat sources, or large environmental fluctuations.
- Use conservation-quality framing materials when framing independently.
- Handle the print by the edges or with clean hands; avoid touching the image surface.
Photographic works benefit from stable, relatively cool, and dry conditions. Limiting light exposure and using archival, photo-safe materials for housing and framing helps reduce long-term deterioration.
Shipping And Handling
Paper works are carefully packed using archival and protective materials to prevent movement, moisture, and impact during transit. Each work is shipped unframed unless otherwise arranged.
Large format acrylic or metal prints, when available, are packed and shipped according to their size, destination, and shipping method. White-glove delivery and installation can be arranged and are quoted separately.