From Flight
to Print

Each edition is produced as a fine art pigment print. Microscopic particles of pigment are deposited onto a carefully selected paper to build the image with a wide tonal range, controlled colour and finely resolved detail.

This process is sometimes described as archival inkjet printing or giclée printing. I prefer the more precise term fine art pigment print , because the quality of the result depends on far more than the printer alone. The preparation of the master file, colour profile, paper surface, ink set, proofing and final inspection all contribute to the finished artwork.

Every print is produced from the high resolution master rather than from the web sized preview or compressed copy of the image.

Epson and Canon pigment inks are selected for their stability, tonal depth and suitability for long-term display. Unlike dye-based inks, pigment inks use stable colour particles that sit within or near the paper surface rather than liquid dyes that are absorbed more deeply into it.

They are particularly well suited to photographs containing delicate gradients, deep shadows and subtle changes in colour. The ink system can reproduce rich blacks while retaining separation in darker areas, important in aerial photographs where water, buildings, landscape and atmosphere often demand a very broad tonal range.

No work on paper is completely unaffected by its environment. Longevity still depends on the paper, glazing, light exposure, humidity and handling, which is why archival inks are combined with recognised fine art papers and the best available presentation methods.

The original master file is prepared at full resolution using a 16-bit workflow throughout the process, from the RAW capture through to final print output. Tonal relationships, colour, local contrast and fine detail are refined for the intended print size while preserving the character of the scene as it appeared from the air.

The print file is then prepared specifically for its selected paper. A photograph does not translate from screen to paper automatically: paper has its own colour, surface, reflectivity and maximum black density. These characteristics affect how highlights, shadows and colour are perceived.

Soft proofing and physical test prints allow those changes to be assessed before the final edition is produced. Large prints may also require additional preparation so that detail and texture remain natural when viewed both from across a room and at close range.

A monitor emits light; a print reflects it. For that reason, even a beautifully calibrated display cannot make the two mediums behave identically. Screens also vary enormously in brightness, colour setting and ambient viewing conditions.

The print is therefore not matched to a visitor's phone, laptop or television. It is prepared through a controlled colour managed workflow and assessed under preset professional viewing light. The collector's room lighting cannot be accurately predicted, so we assess prints under controlled viewing light of approximately 500 lx, matched to our colour-profiled Eizo monitors set to 80 cd/m². The aim is for the physical print to preserve the atmosphere, balance and intent of the original image.

A finished print will usually feel more tactile and less luminous than an onscreen image, with its appearance subtly changing throughout the day as the ambient light in the room changes.

A colour-managed workflow creates a reliable relationship between the image file, calibrated display, printer, ink and paper. Each part of the system is measured so that colour is interpreted consistently rather than left to the default settings of an individual camera, screen or large format printer.

Professional Eizo displays are calibrated and profiled at regular intervals. The print is then soft-proofed using a custom ICC profile that describes how the selected paper and printer reproduce colour. This allows potential changes in saturation, shadow detail and paper white to be accurately anticipated before ink reaches paper.

Colour management does not make every medium identical. It makes the translation predictable, allowing informed adjustments to be made while protecting the integrity of the original photograph.

Soft proofing is extremely useful, but the physical print remains the final authority. A test proof reveals how the actual paper responds to ink, how the surface interacts with light and whether fine details hold at the intended scale.

Proofs are checked for overall balance as well as local issues such as shadow detail, gradients, colour casts and perceived sharpness. Adjustments are made to the print file, not to alter the identity of the image, but to ensure that the physical work carries the same visual weight and atmosphere as the master.

Once the final specification has been approved, the edition can be produced consistently from the resolved print master.

The production master retains a wide colour and tonal range suitable for high-quality printing. Web previews on our website are presented in a more compressed sRGB because that is the most reliable space for ordinary web browsers and consumer screens.

A web JPEG should never be treated as the print master. It is smaller, compressed and prepared for a luminous screen rather than a reflective paper surface. The final print is always made from the dedicated high resolution production file.

Prints are produced on professional Hahnemühle and Canson Infinity fine art and photographic papers selected for their image quality, stability and consistent manufacturing. The exact paper may vary according to the artwork and intended presentation but our go-to for framing behind glass is a high GSM weight and a matte finish with minimal texture.

A smooth photographic surface can provide exceptional detail, deep blacks and crisp colour. A cotton-based fine art paper offers a softer, more tactile character with reduced surface reflection. Neither is universally better; each changes the way the image is experienced.

The paper and finish are selected for their archival quality and suitability for the artwork.

The paper influences contrast, colour, texture, sharpness and the way light moves across the image. A highly detailed city photograph may benefit from a surface that preserves crisp architectural separation and strong blacks. A quieter landscape may be better served by a softer, more natural paper.

Scale also matters. A surface that feels subtle in a small print can become much more apparent in a large work. Framing, glazing and the lighting of the intended room may further influence the choice.

For those reasons, paper is treated as an artistic and practical decision rather than a standard product option applied indiscriminately across the collection.

Cotton rag papers are made primarily from cotton fibres and generally have a natural, tactile surface. They tend to reflect less light and can give an image a quiet, painterly presence. They are often chosen where texture and a softer transition through the tones complement the photograph.

Photographic and baryta style papers usually have a smoother coated surface and can produce greater apparent sharpness, deeper blacks and a broader sense of contrast. They are particularly effective for highly resolved architectural detail, city lights and images containing luminous colour.

The choice is not simply matte versus gloss. Each paper has its own white point, texture, coating and response to ink, all of which are considered during proofing.

In this context, archival describes a paper designed for long term stability when used and stored correctly. The paper should be made from durable fibres, be free from materials that encourage premature deterioration, and be suitable for use with stable pigment inks and conservation presentation materials.

Archival does not mean indestructible or permanently fade proof. Direct sunlight, moisture, airborne contaminants, poor quality backing materials and repeated handling can shorten the life of any work on paper. The complete system print, mount, frame, glazing and environment determines how well the artwork ages.

A limited edition places a defined maximum on the number of prints that may be produced from an artwork. Once the stated edition has been completed, no further prints in that edition will be made.

The edition size is shown on the individual artwork page and recorded with the print. Limiting the edition preserves clarity around the number of works in circulation and provides a traceable history for each example.

The edition is attached to the artwork rather than to temporary changes in production technology. A sold-out work will not later be reopened simply because a new printer, paper or format becomes available.

Each print is personally inspected before it is released. The edition number is recorded as an individual number over the total edition. For example, 20/50.

Depending on the format and presentation, the signature and edition number may appear on the print margin and / or be recorded on an accompanying label or certificate. The exact placement is chosen so it remains appropriate to the artwork and does not compromise the image surface.

The details supplied with the work identify the artwork title, edition number, image year, print dimensions and production specification.

Each limited-edition work is supplied with documentation identifying the artwork and its position within the edition. Depending on the final format, this may include:

• the artwork title and image year;
• the individual edition number;
• the printed image and paper dimensions;
• the paper, mounting and framing specification;
• the artist's signature; and
• a Certificate of Authenticity or corresponding production record.

This documentation should be retained with the artwork, particularly if it is later moved, reframed, insured or transferred to another owner.

Edition structures can vary between artworks, so the applicable arrangement is confirmed on the artwork page or production documentation. Some works may share one total edition across the available sizes; others may have clearly defined size based editions.

Where a non standard size is requested, its relationship to the existing edition will be confirmed in writing before production. No custom format is created in a way that undermines the stated edition.

Yes. This is our preferred option and is the standard supply method for all editions, unless framing is specifically requested. An unmounted print provides the greatest flexibility so that custom framing can be arranged locally or when an interior designer, architect or institution has its own presentation requirements.

Ideally the work should remain in its protective packaging until it is delivered to an experienced fine art framer. The printed surface must not be touched, wiped or allowed to rub against other surfaces. Large unmounted prints are especially vulnerable to creasing and should be handled by two people where practical.

Before arranging independent framing, it is worth confirming the visible image dimensions, border requirements and intended framing method so that the edition markings and proportions remain appropriate.

Dibond is a rigid aluminium composite panel consisting of thin aluminium faces bonded to a stable core. A print mounted to Dibond remains flat and well supported without the visual bulk of a heavy solid sheet.

It is particularly suitable for larger photographic works where dimensional stability and a clean contemporary presentation are important. A rear subframe can be attached to hold the panel away from the wall and provide a concealed hanging point.

The mounting method and adhesive must be appropriate for fine art production. A rigid panel improves stability, but it does not make the printed surface resistant to scratching, moisture or impact. In high traffic areas the surface may still require framing or glazing depending on the paper and intended environment.

Framing can be tailored to the artwork and interior. Common approaches include a conservation frame with window mount, a close-set frame around a mounted print, or a recessed shadow-gap presentation that allows the work to appear to float within the frame.

Frame profile, timber finish, border, glazing and hanging system are selected together. The aim is usually restraint: the frame should provide structure and protection while allowing the photograph to remain visually dominant.

For architectural, hospitality and corporate installations, presentation can be coordinated with the material palette and practical requirements of the space.

Glazing protects a print from handling, airborne contamination and accidental contact. Standard glass, low-reflection glass, conservation glazing (Museum Glass) and acrylic each offer a different balance of clarity, reflection control, ultraviolet filtering, weight and cost.

Large framed works are often better suited to acrylic because it is lighter and less vulnerable to breakage in transport, although it requires careful cleaning and can be more susceptible to surface scratching. High-grade low-reflection options can provide excellent viewing where reflections would otherwise interfere with the image.

The best choice depends on artwork size, room lighting, transport, public access and budget. The final specification should be made with the complete installation in mind rather than selecting glazing in isolation.

Yes. Mounted or framed works can be supplied with an appropriate hanging system so that they arrive ready for professional installation. Large works may use a concealed subframe, split-batten system or another load-rated method suited to the finished weight.

The wall construction and fixing points remain important. Masonry, timber framing, plasterboard and commercial wall systems require different fixings. For larger works or public environments, professional installation is strongly recommended.

Overall dimensions, finished weight and installation requirements can be provided before delivery where these details are needed by an installer or design team.

A fine art pigment print produced on a recognised archival paper is designed for long term display. Its actual life cannot be reduced to a single universal number because exposure to light, humidity, heat, atmospheric contaminants, glazing and storage conditions all have a direct effect.

In a stable interior, framed with appropriate materials and kept away from prolonged direct sunlight and moisture, the work should retain its appearance for a century or more. The latest black pigments we use are now predicted to last 400 years or more. Harsh display conditions can shorten that period regardless of the quality of the original materials.

The best preservation strategy is therefore a combination of stable materials and sensible display conditions rather than reliance on a theoretical longevity rating alone.

Choose a stable interior wall away from prolonged direct sunlight, active fireplaces, heaters, air-conditioning outlets and areas of persistent moisture. Normal changes in daylight are part of experiencing a print, but intense ultraviolet exposure should be avoided.

Bathrooms, poorly ventilated kitchens, outdoor rooms and walls with known damp problems are generally unsuitable for works on paper unless a specialist sealed presentation has been designed for that environment.

In commercial spaces, consider the risk of accidental contact, cleaning equipment, vibration and high public traffic when determining height and location. Framing and mounting options are available to help in these situations.

Never touch the printed surface with bare fingers. Skin oils can leave permanent marks, particularly on darker or smoother papers. Unframed prints should be handled by their edges with clean, dry hands or suitable cotton or nitrile gloves.

Do not place objects on the print, slide it across a table or attempt to remove dust by wiping the surface. Large works should be supported evenly and moved by more than one person.

Framed and mounted works should be lifted from their structural frame or subframe rather than from glazing, decorative moulding or hanging wire.

Dust the frame gently with a clean, soft, dry cloth. Glass may be cleaned with a suitable glass cleaner applied to the cloth, not sprayed directly onto the frame, so liquid cannot run beneath the glazing.

Acrylic glazing requires a product and cloth specifically intended for acrylic. Ordinary glass cleaners, paper towel and abrasive cloths can scratch or cloud the surface.

The print itself should not be cleaned by the owner. If dust, moisture or an insect enters the frame, the work should be taken to an experienced conservation framer for assessment.

Keep the print in its original protective materials until framing. For long term storage, flat storage is preferred where practical, supported on a clean rigid surface and protected with archival interleaving material.

Where a large print must remain rolled, it should stay in a sufficiently wide archival tube with the printed surface protected from rubbing. Avoid tight rolling, repeated unrolling and long-term storage in damp garages, roof spaces or other areas subject to large temperature changes.

Do not use adhesive tape, rubber bands, ordinary cardboard or plastic directly against the printed surface.

Production time depends on size and presentation. An unmounted print requires printing, curing, inspection, signing and protective packing. Mounted or framed works also require specialist fabrication and final assembly.

A realistic schedule is confirmed when the artwork, size, paper and presentation have been selected. Custom framing, very large works and periods of high demand may require additional time.

The work is not released until the finished print and any mounting or framing have been inspected. Where timing is critical, for an opening, relocation or installation date, this should be discussed before production begins.

Packaging is matched to the format of the work. Unmounted prints may be shipped flat or rolled in a thick walled protective tube depending on their size and destination. Mounted and framed works require layered surface protection, rigid corner protection and a suitably strong outer carton or custom crate.

The aim is to prevent movement, abrasion, flexing and impact during transit. Large framed works may be delivered by a specialist art courier rather than a general parcel service.

Keep all packaging until the artwork has been fully inspected. Any transit damage should be photographed before the work is removed from its packaging and reported immediately.

International delivery can be arranged, with the method determined by size, value and whether the work is supplied unframed, mounted or fully framed. In most cases it is safer and more economical to send the print unframed and for local framing.

Your quotation will include the print, protective packaging, courier delivery and transit insurance. We select the most suitable available courier for each destination - usually UPS, FedEx or one of our specialist art couriers.

Import duties, tariffs, taxes, customs charges and any other destination fees vary by country and are the responsibility of the purchaser. Delivery estimates may also be affected by customs clearance and local handling outside the artist’s direct control.

Some artworks can be produced at a custom size where the image resolution, composition and edition structure allow it. The proposed dimensions are assessed to ensure the work retains appropriate detail, visual balance and physical stability.

Custom sizing may affect paper availability, mounting, framing, freight and installation. Its relationship to the limited edition will always be confirmed before the work is produced.

Yes. Artwork can be specified for private residences, workplaces, hotels, hospitality, developments and public-facing interiors. Assistance can include image selection, scale studies, custom sizing, framing coordination, production specifications and installation planning.

For larger projects, information can be supplied to the project team covering dimensions, finished weight, mounting method, framing, glazing and hanging requirements. Production schedules should be considered early where multiple works or custom fabrication are involved.