I have always considered the printed image to be the ultimate expression of my work. This page contains an overview of what goes into each print I make, and what you’ll be receiving when you purchase one.

Process & methodology

My experience in creating photographic prints began in the dark. I trained in and later operated my own traditional black and white darkroom, creating contact sheets, proofs and enlargements by hand. Some of my fondest memories as a photographer were formed in the darkroom — safety lights humming, timer ticking, the smell of the chemicals pungent yet also strangely comforting.

Since relocating to the UK and switching to a primarily digital workflow, I’ve put the chemicals and safety lights aside and adopted a new method of creating prints — utilising a professional-grade photographic inkjet process.

The prints I produce now are no less a result of care, attention to detail and constant refinement than the silver gelatin prints I used to handcraft in the darkroom (however this process is a little drier and takes up less space). The results, meanwhile, are just as good — if not even better.

Look and feel

Each print I produce is made using a professional photo inkjet printer, which produces the same level of detail and quality required for high-end exhibition prints.

As a photographer working exclusively in black and white, it’s critical that I am able to produce prints which are truly monochrome, with no unintentional colour cast. Thanks to the capability of my printer in combination with my choice of paper (more on that below), my black and white prints are just that — with rich, deep shadows and a full range of greys from dark to light.

I finish each print with an extremely subtle warm tone, similar to the tonality of classic lithographic prints. This helps to keep the image from looking too cool under certain lighting conditions, but isn’t anywhere near obvious enough to be mistaken for sepia. See below for a comparison between a final image and a completely neutral image.

Left: toned; right: neutral

Left: toned; right: neutral

The tactile impact of a printed photograph is an important factor in choosing the right paper. After testing a variety of fine art paper, I landed on Canson Infinity Platine Fibre Rag, which has a weight of 310gsm and a thickness of 3.95mm. With its smooth cotton rag (evident to the touch on the reverse of the print), it’s a pleasure to hold in the hand.

The print surface sits somewhere between a satin and semigloss finish — not glossy, but luminous enough to provide the print with a lovely degree of depth, while being much smoother than the typically pebbled finish of a lustre paper.

Paper, ink and longevity

Aside from feeling wonderful in the hand, each print is also made to last. Canson Platine Fibre Rag is made of 100% cotton, without the use of optical brightening agents (OBAs) which can reduce the print’s lifespan and produce odd coloured highlights under certain lighting. The paper is acid-free, with a moderately high degree of water resistance.

The Epson Ultrachrome HD pigment inks I use are designed to produce a wide spectrum of colours (and, in my case, greyscale tones) with deep blacks and a minimum of bronzing. They’re also designed for longevity, and are the same type of inks used in museum-grade photographic prints.

While precise print longevity varies depending on methods of storage and display as well as environmental conditions, Wilhelm Research provides a guideline that, when printed with Epson pigment inks and framed under UV glass, prints on Platine Fibre Rag should last for 113 years before any fading or colour shift is detectable. However, as these tests were conducted using Epson’s previous generation of inks, Epson’s current ink line (which I use) should produce even greater longevity.


I am starting my print offering with a collection of open edition prints (in other words, the prints are unnumbered and the edition size is not capped) in order to make the work available to a wider audience. Limited edition prints will be available in the near future, and will be numbered and accompanied by a certificate of authenticity. More details to follow.

All prints, whether part of an open or limited edition, are signed on the reverse.

Packaging & shipping

Wherever possible, prints are shipped flat (as opposed to in tubes) in order to keep them from curling and potentially being damaged. I package and ship each print myself.

Each print is first housed inside a clear archival polypropylene sleeve to keep moisture, dirt and other contaminants at bay. The sleeves are crystal clear and can be re-used when storing or transporting the prints.

The packaged print is then sandwiched between two cardboard panels to guard the print against dents, bumps and drops during shipping. Finally, the sandwiched print is packed in a folding cardboard mailer and shipped off to its destination.

Shipping is via Royal Mail, and includes insurance for the purchase price of the print. Shipping options and prices vary by destination and will be shown during checkout.

If you have any questions regarding prints, please feel free to get in touch. Otherwise, you can view the current selection of prints by clicking below.