Of course, I want my work not only to look good but Limited Editions must also pass the test of time. There are many archival or more accurately preservation media available; glossy, matte, smooth or textured, C-Type prints or Giclée (inkjet). Some people have a particular leaning towards matte or glossy and it makes a significant difference to how long a print will last by which type of printer and inks were used to output it. So after much searching and testing I have chosen arguably the finest fine art papers available to output my work on arguably the best Epson printers.

Notice I say Epson, meaning inkjet or its fancier title “Giclée” from the French “to spray”. If you’re in any doubt as to the quality of inkjet prints when compared to traditional C-type prints (developed the old way or using modern technology) the latest inkjet media, printers and inks exceed in image quality, tonal range, colour intensity and breadth and by far the print longevity any existing C-Type technology. Printed on the latest Epson printers, prints will last for over two centuries when displayed under UV protection.

After much wrangling over what media to print on and to accommodate the choice between gloss or matte paper and to use papers appropriate to the type of image, I have chosen two papers and a canvas from two of the oldest and most renowned paper makers to print my work:



A 100% cotton, pH neutral, ultra smooth satin surface paper,  Platine Fibre Rag is the combination of the premium 100% cotton Platinum paper that Canson has supplied for many years to the original Platinum photographic market, with the latest microporous coating, making  the traditional darkroom paper available for digital printing. Platine Fibre Rag provides the aesthetic and feel of the original F-Type Baryta Fibre paper, having a true pure white tone without the use of optical brightening agents (OBA’s). Platine Fibre Rag’s extremely high Dmax (black density) and exceptional grey tones make it the product of choice for the more discerning black and white as well as colour photographic prints and will last under UV protective glass or acrylic for over 200 years.


Hahnemühle Photo Rag Ultra Smooth is an especially smooth and silky soft paper for high-quality Fine Art inkjet printing. The white cotton art paper has a discreet, very finely textured surface with a strikingly silky feel. The matt premium inkjet coating guarantees extraordinary print results with impressive reproduction of colour, detail and very deep black. The acid- and lignin-free all-rounder meets the most exacting requirements in terms of age resistance and is perfect for high-quality black and white Fine Art prints.


This 100% Cotton, matt textured, natural white canvas provides outstanding print quality with a high resolution inkjet coating that was developed to ensure excellent ink adhesion and produces vivid colours, precise gradations and deep blacks. Archival quality and free of OBA’s, this Canvas offers exceptional colour stability over time and resistance to ageing. Museum Art Canvas is water resistant and its robust poly-cotton composition and flexible coating make it ideal for stretching and mounting. 

Where paper prints can be mounted and framed in countless different ways (the reason I leave it to you to match your print to your environment) some methods of presenting an art work are pretty universally similarly produced, so I have decided to make them available. 


Acrylic face mounting gives prints a very modern, vibrant look following a process that involves applying an optically clear adhesive to the face of a print then adhering it to acrylic.  Once this is done, a backing material, in this case dibond, is adhered to the back of the print to protect it and provide rigidity. An aluminium sub-frame is attached to the back and provides a modern, floating off the wall look. 

For Acrylic Face Mounted prints I use:


This is a silver halide colour paper, designed exclusively to produce high-image-quality colour prints. This paper incorporates silver halide emulsion technology to deliver enhanced colour reproduction, white purity and image stability.


Acrylic face mounting is unfortunately not cheap. An alternative is to choose a Canvas Wrap where in this case the printed canvas is mounted over 4cm (1.57 inch) stretcher bars.

Incidentally, none of the image is lost over the edges of my wraps as the edges are painted black. If for any reason you would like the edges painted any other colour please let me know at the time of purchase via the contact page. 

Both of the above presentation methods come ready to hang.


All stated sizes are for the image area, while to assist handling all paper prints have a  minimum 2 inch (50mm) border.

Many factors have to be taken in to consideration when deciding on the final output size of a print, so not all of my prints can be printed at all the sizes I make available, but you can rest assured that no print will leave me unless I'm perfectly happy with it.

And what of image quality? Of course you can’t be sure that it’s good, unless you've seen a print, but it wouldn’t benefit an artist much by them turning out rubbish. So, a few of my smaller prints were captured with a Canon Eos 1Ds mark III 21 megapixel camera but most, and from now on all, were or will be captured with a Canon Eos 5Ds 50 megapixel camera using canon pro lenses. All prints are then output on the papers above on the latest Epson printers.

Note: Please be aware that due to differences in monitor calibration actual print colours may not match exactly with those seen on your device.


Due to the potential for damage in transit I neither matte nor frame my work, which also allows you to choose a frame or mounting option from the huge choice now available at any reputable framers to arrive at the perfect match for your home or workplace. Remember the prints are archival and to maintain that status they need to be properly mounted or framed, to that end a handling guide is included with your print to guide you before your framer puts it beyond harm’s way.


This site uses Stripe for card payments and any major debit or credit card can be used, but you can, if you wish, get in touch via the contact page to organise payment by cheque or money order. 



I provide free, fully insured, guaranteed safe shipping worldwide using Parcelforce Worldwide with all prints dispatched in a secure image grade postal tube between archival tissue paper and protected by bubble wrap.

You will receive an automatic confirmation of your order but once I am personally aware of it I will e-mail you to let you know how things are progressing. Once your print is dispatched you will be informed and provided with tracking information.

Please be aware that prints are made to order and though they would normally dispatch much sooner please allow up to 21 days for delivery.


I’m confident that you will be delighted with your investment and have no wish to return it under any circumstances, but if you’re disatisfied with the product you can return it for a full refund within 14 days of purchase. Please check the print when it arrives with you, if it’s damaged at the time it arrives with you it affords you the opportunity to return it while the product is still covered by postal insurance. If the print is damaged, if possible take a photograph (proved to speed up insurance claims) and return the print to me so that I can chase up the insurance and get a replacement print to you as quickly as possible. The cost of returning a damaged print will be reimbursed in full.