Exclusivity…
Each image you see in the Galleries has been carefully selected to embody the emotion and vision I had on that day of EXPLORATION. All of the images are produced in a limited run by my hand in my studio. This give me the greatest control over the process and does not limit my ability to make minor adjustments to the proof until I feel it is complete. Each print is hand titled and numbered in the lower left hand corner of the print, the print is then signed and dated in the lower right hand corner. Every print in the edition receives a number regardless of print size. This ensures the edition size is locked and not broken by producing “arbitrary” sizes to continue the print run. Each print also includes a signed and numbered CoA (certificate of authenticity)
Qualtiy…
To me the presentation of an image is more than just ink on paper. The Frame, Mat and Print work together to accentuate the image and do not individually compete for the viewers attention. We use only the finest materials to achieve an “Archival” standard when producing our fully framed pieces of art.
The Printer
The final print is ultimately what is seen by those that view my work at either a Gallery or an Art Show. It’s the manifestation of my journey of exploration and my editing of the captured image. Knowing this, choosing anything but an industry leading printer would be counterproductive. This is why we made the substantial investment in a Canon ProGraf series printer. This printer uses a 1.28-inch wide, 12-channel print head with LUCIA PRO inks and a vacuum print bed to produce a print with impeccable quality.
The Paper
Our paper comes from the Red River Paper Company out of Dallas Texas, a bespoke Ink Jet Paper producer specializing in "Photographic" papers. The paper we choose comes from the "Water Shed Collection" and has a beautiful crisp white stock without any artifical brighteners. It produces a print the looks and feels like a traditional Silver Halide print with deep blacks and rich colors. The paper is lignun and acid free to ensure a truly "Archival" art piece.
The Glazing
All of our framed photographs are mounted behind either Tru View® “Museum” or Tru View® “Conservation” glass. Both glazing options offer over 99% protection from UV light, the single worst destructor of pigment inks in an archival photograph.
The Mat & Mount Board
The mounted art work starts with an 1/8” thick foam core mount board which is backed up by an additional 3/16” foam core board to ensure the piece stays flat in its frame. On top of the photograph sits two 4-ply Crescent Select Conservation mat boards, an inner mat and an outer mat. All of these boards are lignin and acid free to ensure the “Archival” standard is kept.
The Frame
To us the frame should not be an after thought, or just bought at the local art store. Our frames are meticulously fabricated, assembled and finished in our studio. The frames are not just “Stapled” together, each joint is hand cut and glued with wooden splines at each joint to ensure the frame last as long as the art work. The finish, an environmentally friendly water borne polyurethane, is hand sprayed in two coats to ensure a smooth and durable finish.
The Mounting
All of our prints are mounted using an “Archival” hinge and are NEVER “Hot” pressed. We take seriously our commitment to giving you an heirloom piece that can be handed down from generation to generation. Using a “Hinge” mount ensures the art work is never permanently attached to something that can get damaged or destroyed. Any quality framer can easily follow standard “Archival” processes to renew the photograph to a new mounting.