The notion of fine-art print refers to photographic reproductions on paper limited to 30 copies, signed and numbered, made under the artist’s control. These procedures guarantee a special tax and legal status for the work, combined with tax exemption possibilities.
But in fact, it is a defensive reaction of photography, aiming to organize the artificial scarcity of prints to enter a speculative art market, and to create a legitimacy based on the (almost) unique piece to respect the tradition of fine arts. This scarcity benefits neither the artists nor the public, but only a few speculators and a handful of artists at the top of the food chain. It does not guarantee the income of artists and discourages many potential buyers because of the prices it imposes. In fact, there is no argument that justifies limited editions, other than to fit into the habits of a deliberately elitist art market.
I have abandoned limited edition art prints in 2021 and reduced my prices accordingly, to reach a wider audience selected by their interest in my work rather than by their resources. Photographs sold in limited editions of 30 copies before 2021 will remain in limited editions until stocks run out, out of respect for customers who have already purchased them under these terms. The methods and papers used for the prints remain the same and continue to use the best options available today for longevity of preservation and color quality.
For those customers who wish to do so, and considering the special relationship to the work that they may legitimately seek, all prints are also offered signed and numbered (although not limited) with an additional charge.
Unless your monitor is designed for graphic arts and calibrated, it is likely to apply automatic corrections to brightness, contrast and colour saturation to make images more flattering. Unfortunately, these corrections distort the images by replacing the initial aesthetic and colorimetric intention of their author by the arbitrary and marketing choices of the screen manufacturer. Therefore, it is likely that the preview of the photos on the internet will differ from the print (saturation, contrast, brightness).
The reality is the paper print, which is made in calibrated colours from the camera to the final print. To get closer to the real (neutral) rendering of the images :
- set your screen to “neutral” or “natural” mode if available,
- set the brightness to 50 %,
- set the contrast to 50 %,
- set the saturation to 0,
- adjust the color temperature to 6500 K or D65 (no “warm” or “cold” mode),
- adjust the backlight so that the white of the screen is as bright as a sheet of paper next to the screen.
Note that this setting may seem bland according to the screen rendering you are used to, but the eye will get used to it again in a few minutes. Moreover, it does not replace a real calibration.
Keep in mind that the paper is not backlit (unlike your screen). It is therefore normal for paper prints to appear darker than your screen, especially if you are used to setting the brightness to maximum.
#Origin of shipments
Signed prints are usually shipped from the European Union after verification by the author. Unsigned prints are shipped directly from Germany.
- Unsigned prints : 5 to 14 days
- Signed prints : 10 to 21 days
Prints on baryta paper (Ilford Baryta) take longer to produce, so delivery times are doubled. Lead times may be subject to seasonal variations, particularly around Christmas. You will be informed of all delays by email, as accurately as possible, after your purchase.
#Taxes and customs
The indicated costs take into account the delivery to your home, all taxes included. For shipments outside the European Union, additional customs duties and taxes may be applied by your country of residence and remain at your expense. These customs fees are generally equivalent to the VAT in your country, plus a flat rate handling fee.
Prints are sent on a regular basis to :
- Western Europe : France, Germany, Ireland, the Netherlands, Belgium and Luxembourg,
- North America : Canada and the United States (customs fees to be expected),
- Lone wolves : United Kingdom, Switzerland (customs fees to be expected),
- Asia : China and Japan (customs fees to be expected),
- Oceania : Australia and New Zealand (customs fees to be expected).
For shipments to any other country, please send a request for a quote to study together the options and prices available :
In case of dissatisfaction upon receipt of the print, it is taken back unconditionally and refunded within 14 days. Return shipping costs are at the customer’s expense and original shipping costs are not refunded. The print must be in good condition when it is returned to the photographer, otherwise the refund will not be possible.
In the event of a damaged or destroyed parcel when you receive it at your home, refuse the parcel if you were there to receive it in person, have the delivery person note the damage if possible, and contact the photographer immediately to consider an exchange.
The size that you choose (“Printing dimensions”) refers to the actual dimensions of the image. Around this image, white borders of 1 cm to 5 cm are added to facilitate framing without having to crop the image. White borders are not included in the printing dimensions.
The outer dimensions of the paper (“Dimensions”) include the printing dimensions and the white borders. When you buy a frame, it should be at least as large as these outer dimensions.
All the prints offered here use the best archival media and printing methods, which guarantee maximum colour and tone longevity under standard conditions :
- Ilford Baryta 315 gsm and Ilford B&W 190 gsm : silver grain stability of at least 160 years,
- Kodak Pro Endura 250 gsm : 100 years of color stability,
- Fuji Crystal DP II 220 gsm : 75 years of colour stability,
- Hahnemühle Photo Rag 308 gsm in Epson Ultrachrome Pro12 inkjet printing : pigment stability of 40 to 70 years.
However, these values correspond to a tonal and colour softening as defined by the ISO 10977 standard, i.e. a reduction in grey density of 30 % and a reduction in colour density of 15 % %, and are obtained under standardised conditions, which nevertheless require some precautions :
- temperature below 35 °C (95 °F),
- relative humidity between 20 % and 65 %,
- ambient illumination of 450 lux, 12 h/day, (except for Kodak : 120 lux, 12 h/day)
To preserve the colors and tones of your print over time, follow these rules :
- light protection :
- place your prints under glass (can double their longevity) or even under UV filter (can triple their longevity),
- place UV filters on your windows,
- protect your prints from direct sunlight by drawing the blinds or shutters,
- protection of pollutants :
- keep your prints away from ozone, nitrous oxide or chlorine (bleach) vapors and fumes,
- do not leave your prints in contact with bleached or acid-glued industrial paper or cardboard, use only acid-free archival paper according to ISO 9706,
- do not leave your prints in contact with rubber
- atmospheric protection :
- maintain an indoor humidity of around 50 % and always between 20 % and 80 %,
- keep the interior temperature below 35 °C as much as possible, and always below 60 °C (the temperature of a car in the summer sun),
- mechanical protection :
- avoid contact with abrasive, sharp or cutting materials,
- protect your prints from dust,
- entrust the cleaning of your prints to a professional art restoration company.
Paper prints naturally appear darker than photos on a backlit monitor. These few simple tips will help you show off your new purchase.
Framing your print without glass allows you to enjoy the texture of the paper without glare or obstruction and is generally the best option from an aesthetic standpoint. If this is not possible or not desirable, be sure to ask your framer for a museum glass (such as Schott Mirogard®) with a very low reflection index, so as to limit stray reflections on the surface of the glass. Entry-level glass also has greenish tints that can distort colours, so make sure your glass has no tint.
To ensure the longevity of your print, ask your framer for “archival” mats and cardboard, 100 % alpha-cellulose and acid-free, whose emanations could otherwise degrade the pigments of the image over time.
To expose your print without frame, you can ask me for a mounting on aluminium plate with lamination.
The correct height for a painting is generally the height of an adult’s eyes (1.55 to 1.75 m in the middle of the painting). However, some portraits and intimate nudes benefit from being displayed slightly lower so that they can be viewed from above, to reinforce the effect of proximity and intimacy.
A photographic print should receive 90 lux, which is the light from a 280 lumen spotlight (either a 14 watt halogen spotlight, or a 4.5 watt LED spotlight) projecting a circle of light 1 m in diameter. The main light of the print should be positioned above the frame, and between the viewer and the painting. If the lighting is behind the viewer, there is a high risk of disturbing reflections.
Make sure you use high color rendering index bulbs (CRI as high as possible, at least 80 and if possible more than 95), with a color temperature of about 5000 to 5500 K (daylight D50 or D55). To do this, avoid at all costs compact fluorescent bulbs (unless their CRI is at least 90), and prefer either halogen bulbs (energy-hungry) or broad-spectrum LED bulbs (energy-saving but more expensive).
The size of your print depends on the subject and the room where you want to display it.
Intimate subjects are more suitable in small format because we are are not looking in them for a maximum amount of details but rather a precious, human feel. For portraits, a print size that gives a true-to-life size or smaller face is preferred.
For landscapes or architecture, we will look for larger sizes to reveal all the details and to be able to walk visually in the image.
For the nudes, it depends. Some graphic nudes are best treated as landscapes, while others, more intimate, require more delicacy and intimacy.
The size of the room in which you plan to display your print weighs more heavily in the size of the print more than the subject. Indeed, the larger the print, the more you need to step back to appreciate it. and this back step will be limited by the opposite wall or furniture.
The useful field of view of the average human, relative to the graphic elements, is between 40 ° (symbol recognition) and 60 ° (colour discrimination), which means that the correct distance between the viewer and the print is between 1.73 and 2.75 times the dimension of its longest side. For example, if your room allows for a 2 m back step from the wall carrying the print, the maximum dimension of the print will be 2 m ÷ 2.75 = 0.73 m on the longest side.
For your convenience, here is a table showing the minimum and maximum backward step size required for typical print sizes. The area between the minimum and maximum step values should be completely free to traffic so that each spectator can choose the distance that is comfortable for them :
|Dimension of the largest side||Minimum backward step||Maximum backward step|
|15 cm||26 cm||41 cm|
|30 cm||52 cm||83 cm|
|45 cm||78 cm||1.24 m|
|60 cm||1.04 m||1.65 m|
|75 cm||1.30 m||2.06 m|
|90 cm||1.56 m||2.48 m|
|120 cm||2.08 m||3.30 m|
|150 cm||2.60 m||4.13 m|
Once you have validated the distance constraint, it is up to you to decide how you wish to arrange your decoration : opulence of frames or minimalism on your walls, it is up to you to find your balance.
The prints are made after receipt of your order, in Germany by Whitewall, a laboratory renowned for its reliability and for the quality of its prints. They are guaranteed for 5 years by the laboratory. Whitewall follows a rigorous colour grading process that allows me to simulate the appearance of the final print directly on my computer, thus ensuring that the print is absolutely consistent with my retouching.
The papers used are high quality archival photo papers (Kodak, Ilford, Fuji, Hahnemühle), acid free, offering a light stability of 40 to 150 years without contrast and color fading. The paper is chosen for each print according to the photo, for its texture and colour rendition. Prints are made either by traditional silver photochemistry (silver print) or by pigmented inkjet on 100 % cotton or 100 % alpha-cellulose art paper.
All prints have a white border of 1 to 5 cm depending on the size, for easy framing under a mat.
Prints are sold alone to limit shipping and customs fees (if applicable). If you have a competent framer near you, it is recommended that you use their services. Alternatively, on request, the prints can be sent to you already framed, which guarantees a clean result (without any trace or dust inside) since the framing takes place directly after the printing.
Note that careful framers are increasingly rare, and it has been reported that many of them leave dirt inside the frames. In addition, the frames offered here are of museum quality and may be difficult to find at small local framers. All the available frames are presented on the laboratory website, the most common options are listed here.
The framed print is mounted in a traditional 2 cm square frame, with a double passe-partout, for a nice relief effect. Wall mounts are included.
The dark brown alder frame has a rectangular profile with a fine grain. The mats are made of 100 % alpha-cellulose Hahnemühle card with a pH value of 8 and are suitable for archiving according to ISO 9706.
The highly transparent protective glass manufactured by the German glassmaker Schott, specially designed for museums, reflects less than 1 % of the light received while filtering 99 % of the UV rays that can fade colours over time. It does not add any unwanted color cast.
This type of framing is suitable for all papers.
The shadow box print is mounted floating in a deep (6 cm) dark brown alder box that adds a delicate shadow to the white edges. Wall mounts are included. The absence of a protective glass makes the print more fragile and sensitive to light but allows to appreciate the texture and the rendering of the paper without obstacles.
This type of framing is suitable for all papers.
The laminated print on aluminium Dibond is fixed under laminator on a rigid multilayer support aluminium/plastic/aluminium. The image is then perfectly flat. The support is cut to the exact dimensions of the print for a borderless, sober and modern effect. The print is then protected by a UV-resistant and waterproof film, in matt or glossy finish. Wall mounts are included and the whole thing is lightweight, easy to hang even on thin walls.
The papers available for lamination are Ilford B&W, Fuji Crystal and Kodak Pro Endura. Very thick papers (baryta or Hahnemühele papers) cannot be laminated.
For any special request, question or advice, do not hesitate to contact me :