Fine Art Prints
These are not reproductions. Every print is produced by hand, in my studio, on archival fine art paper. It’s the same care and intention that went into capturing the photograph applied, again, to putting it on the wall.
Learn more about my print philosophy →
Want something else?
Wish you could get a different image as a print? Looking for custom matting and framing solutions? Custom options are available, just reach out and I’ll make it happen!
Print Philosophy
Paper
I work with two papers, and I chose them for the same reason: they feel right for the subject matter.
Both are bright white, heavyweight, matte fine art stocks — acid-free, cotton-rag construction, built to last without fading or yellowing for generations. Bright white base matters particularly for my work because so many of these photographs are made in white, snowy, and icy environments. A warm or neutral base shifts the color cast of the entire image. Bright white preserves what was actually there.
Canson Infinity Arches BFK Rives Pure White (310 gsm) is my primary paper. It has a subtle, tactile texture. It’s not rough, but present. For landscapes and wildlife, that texture does something a smooth surface can't: it gives the print a quality of being made rather than produced. The subject matter is wild and physical, and the paper carries a little of that. It is acid-free, 100% cotton rag, and contains no optical brightening agents (OBAs), which matters for longevity. OBAs degrade over time and cause papers to yellow. Their absence here means the print holds its tone for as long as the pigment inks will allow, which is a very long time.
Moab Entrada Rag Bright 300 is my secondary paper, used for select prints where a smoother surface serves the image better. It shares the same archival pedigree: bright white, acid-free, heavyweight cotton rag, but its surface is slightly smoother than the Canson, which suits certain compositions where fine detail is the point.
In both cases: no gloss. Gloss finishes have their place, but for expedition and landscape work, a glossy surface reads as studio: controlled, lit, fabricated. Matte paper reads as found. That's the distinction I'm after.
Process
Printing is done on a Canon imagePROGRAF PRO-1000 using pigment-based inks. Pigment inks are the professional standard for fine art output: they are more lightfast than dye-based alternatives, more stable over time, and produce a tonal range that holds up in the deep shadows and bright highlights that characterize a lot of this work.
Every print is signed by hand in pencil.
The Certificate
Every print ships with a signed Certificate of Authenticity. The certificate includes the full details of the print process, including paper, ink, dimensions, and edition, and is hand embossed with my official seal.
You’ll also receive the capture information for the photograph (location, date, camera, and settings), as well as a written story about the photograph. Not a caption. The story describes what was happening, what I was looking for, what the conditions were, and what the moment actually felt like when the photograph was captured. The print is the thing you hang on the wall. The story is the thing you keep.
