Exhibition-quality limited edition photography prints
Exhibition Quality Prints
My exhibition-quality limited edition photography prints are authentic photographs without any digital manipulation. The only adjustments I make are ones that would also occur in a traditional darkroom. The finished print expresses what I observed in the viewfinder when I pressed the shutter release button.
Prints are crafted individually in-house by myself, using the finest archival quality photographic materials. Every print is an original.
Prints are available to buy during exhibitions and anytime from Saatchi Art.
Explore my work and browse prints
You can also go straight to Saatchi Art and select a print to buy.
Limited Editions
Limited editions are prints produced in a set size (number of prints), print and paper size, and paper type. Collectors can be assured that the number of reproductions is restricted. Prints are numbered and signed by myself by hand and accompanied by a Certificate Of Authenticity.
Whilst all images on this website are watermarked, prints are, of course, never watermarked.
Fine Papers
The paper, on which a photograph is printed, is a fundamental part of the photograph as an object.
In Western culture we often have little appreciation of the qualities of paper. We usually only notice whether it is bright or off-white, thick or thin, shiny or matt, smooth or rough - if we notice anything at all.
In Western style paper the fibres used tend to be short and produce paper lacking internal strength. Inevitably, it is necessary to produce thick, heavy and cardboard-like paper. This is what in Western culture we have come to think of as “good” paper.
By contrast, traditional Japanese papermaking uses fibres — in particular Kozo — that are much longer. This produces elegant paper that is noticeably thinner but crisp and delicate yet very strong. It was only when I attended a workshop to train how to make paper that I realised that the techniques for making thin papers show the real skills of the papermaker.
This delicate-yet-strong paradox of papers made in the Japanese tradition draws a parallel to our home, planet Earth, and also the human existence.
The specific paper, which carries a work of art — a drawing, painting, photograph, writing — influences the way, in which we experience the work. It is not just a supporting medium in the background but becomes a physically and intellectually inseparable part of the finished work. The printed photograph no longer only contains the visual information but becomes a physical object in its own right.