Frequently asked questions

  • Absolutley! I take great care in printing my photos, I love the process and feel it is the best way to represent my work.

    There are a couple of videos of me talking about my printing process on my store page and some related articles on my blog.

  • I have an Epson SC-P900. It's a great printer with 10 individual cartridges and prints A2 images comfortably. I also have the roll feeder so can print long, panaramic images.

  • This is a broad topic! I keep lots of different paper types in stock. I favour papers made by Epson and Canson. I tend to use fine art, 100% cotton paper the most, but I also enjoy papers (like a Lustre) with a sheen to them that emulate the stock I once used in my darkroom. In summary, I always pick the best quality paper for the print.

  • Yes indeed! I only use the original Epson inks that are considered archival due to the pignment they use.

  • If you plan to frame your image, leave the print in it's packaging until you can take it to the framers.

    If you your print has arrived in a tube, carefully pull it out and lie the print flat. Be sure to face the image up and let the paper settle overnight to reduce the curl from the tube. Leave it in a place where it won't attract dust or water.

  • I really do! You have bought a piece of wall art and I hope you put it on your wall.

    If you plan to frame your image with a professional framers, leave the print in it's packaging and take it directly to the framers.

    You can of course frame it yourself, just make sure you use a frame that is the correct size and allows you to mount the complete image. Always use acid free tape to secure the image to the mount inside the frame, this will ensure the paper and print lasts as long as possible.

  • Where should I hang my print?

    • Avoid direct sunlight, which can cause gradual fading even with archival inks.

    • Keep prints away from high humidity areas (bathrooms, kitchens) and heat sources like radiators or fireplaces.

    • A stable, dry environment will help the print last for decades.

  • When I send prints rolled in a tube, it’s simply to protect them in transit, especially larger sizes on fine-art, 100 % cotton archival paper. It’s completely normal for prints to have a bit of a “curl” when you unroll them. Here’s how to help them relax flat safely and without risk to the image:

    Gentle flattening at home

    • Carefully slide the print out of the tube and place it face-up on a clean, flat surface.

    • Sheets printed on fine-art paper sometimes hold a little curl at first, leaving them to relax on their own for a little while will help the fibres settle back flat. Overnight is often enough for most prints.

    Weighted flattening for a fully flat finish

    • Once unrolled, you can lay smooth, clean weights (like books or boards) gently along the edges to encourage the print to lie flat.

    • Keep the print in a warm, dry place, and check back after a few hours, most prints will flatten significantly within 24 hours.

    Tips & things to avoid

    • Always handle prints by the edges with clean hands to avoid fingerprints or smudges.

    • Don’t force the paper flat too quickly, gentle, gradual flattening is much safer than aggressive bending.

    • Avoid heat, steam, or moisture at home as a way to flatten, this can distort or damage fine-art papers.

    If you’re framing soon

    • If you’re taking the print straight to a professional framer (which I recommend), it’s perfectly fine to keep it rolled in its tube until then, most framers will flatten prints themselves as part of the mounting and framing process.

  • Why are some prints shipped rolled rather than flat?

    • Rolling is the safest way to ship larger prints without creasing or corner damage.

    • Tubes offer far better protection during transit than flat packaging.

    What if something doesn’t look right when my print arrives?

    • If there’s any damage from shipping, or something doesn’t seem right, customers should get in touch as soon as possible with photos so you can help resolve it.

  • Yes, depending on your country, international orders may be subject to customs duties, import taxes, or handling fees once they arrive. These charges are set by your local customs authority and are the responsibility of the recipient.

    Unfortunately, I have no control over these fees and can’t predict what they may be in advance. If you’re unsure, your local customs office will be able to advise on what to expect before placing an order.

    If you have any questions about international shipping, feel free to get in touch and I’ll be happy to help.

  • Will my print look exactly like it does on screen?

    • Screens are backlit and vary from device to device, so some variation in tone or contrast is normal.

    • Prints are produced using calibrated workflows and archival inks to ensure consistency and longevity.

    Why does fine-art paper feel different to standard photo paper?

    • Fine-art papers are often thicker, textured, and made from cotton or alpha cellulose.

    • This is intentional, it gives the print depth, tactility, and archival stability.

How do you price your work?

Pricing fine-art photography isn’t just about paper and ink.

Each print reflects a combination of creative value, production quality, and the very real cost of making the work in the first place.

Size, scale, and presence

Larger prints naturally cost more, not only because they use more paper and ink, but because they demand greater precision in printing, handling, and presentation. Bigger images also tend to have more visual impact on a wall, and that presence is part of their value.

For my largest prints (A2), I work with limited editions. This allows me to offer something more exclusive and ensures that those images remain special over time. Limiting the number of prints is a conscious choice, it reflects how I value the work and how I want it to live in the world.

Materials and production

All prints are produced using archival fine-art papers and pigment inks, chosen for longevity, texture, and tonal depth. These materials are significantly more expensive than standard photo paper, but they ensure that the print you receive is made to last; not just for years, but for decades.

Printing, quality control, test prints, and careful handling are all part of the process, even if they’re invisible at the point of purchase.

The cost of making the image

The price of a print also reflects what it takes to create the photograph.

Many of the images in the shop are made on location, sometimes close to home, sometimes much further afield. Trips to places like Death Valley, Iceland, or remote parts of Europe involve weeks of planning, travel, accommodation, car hire, and often working with models and collaborators on location.

Those costs add up long before a single frame is printed.

What you’re buying isn’t just the final image, it’s the result of time, risk, travel, trust, and collaboration, often in challenging environments and many many very early mornings!

Why I really do this

Of course, I need to charge fairly for my work. But the honest truth is that the biggest thrill for me is someone saying, “I want that image on my wall.”

The creative process, working with talented people (people who have become friends along the way), exploring unfamiliar places, and slowly shaping an image, is the real reward. Being able to share that work through my print shop is something I don’t take lightly. It’s a privilege, not a transaction I ever feel entitled to.

If you’re curious about the journeys behind the images, I often write about them in more detail on my blog, from planning and travel, to the moments that shaped the final photographs.

You can read more about those adventures here.