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Creating my limited edition Timeless City prints of London
Take a peak into the process I follow when choosing, printing and sending my limited edition, Timeless City, fine art prints of London.
Taking photos can be such a creative and fulfilling process and after capturing that epic vista at sunset or carefully crafted cityscape scene, for me, viewing work on a screen does not compare to the impact I get from holding a fine-art print in my hand or seeing it mounted, framed and hanging on the wall. A physical print can bring a photo to life and transport the viewer to another time and place, evoking all kinds of emotions and memories.
With so many photos observed on social media for just a few seconds before the inevitable swipe of the screen, the physical print invites viewers to slow down and engage deeply with the work. It’s a more intentional way of experiencing photography. As Ansel Adams famously said, "The negative is the equivalent of the composer's score, and the print is the performance.” Maybe, for the modern age, you could replace the negative with the digital raw, but you get the point.
Printing my Timeless City, black and white photos of London
When my Timeless City project started to gain a little momentum and a body of work was forming, I thought about ways I could transport the photos I’ve taken from the screen into print and one of the options I’ve decided to pursue is to offer fine-art prints for those who follow the project to own.
I wrote this blog post to accompany the new print store for two reasons.
To share the attention to detail and craftsmanship that goes into producing my high-quality, archival fine-art prints.
To help photographers who are starting their own printing journey by outlining my process.
Choosing the photos for the limited edition prints
Choosing the photos I want to include in a limited edition collection is an important and (to me at least) difficult decision. On the one hand, I’m including what I subjectively consider some of my very best work, which I hope will also appeal to a potential print-buying audience. On the other hand, I have to be comfortable with the fact that those images will be limited in number and once finished, never printed in the same way again.
Once shortlisted and to ensure quality, I printed the images at their intended sizes—7x7” and 10x10”. I printed the shortlisted photos at this early stage because I’m aware that not all images translate well from screen to paper, and this step helps eliminate any that don’t quite hit the bar. This step also helped me narrow the selection to an initial 12 prints I wanted to start with.
Choosing the right paper to print my photos
There are several things to consider when printing images and paper choice is arguably the most important decision I needed to make. In my mind, I have a particular look I want to achieve, one that I feel suits the work best and here’s a brief breakdown of the process I went through when choosing the right paper for this project.
Paper Size: I want the finished work to have a more intimate look and feel. There’s a quiet subtlety to my black and white photos of London and I don’t want the prints to overwhelm the space they are displayed. I think a smaller picture with a wide mount and subtle frame suits the work better. The other benefit of printing the photos in 7”x7” and 10”10” is that I can print, sign and send the work directly, meaning I can control the entire printing process and ensure a high degree of quality control.
Paper Type: By paper type, I mean choosing between normal, photo-quality paper or acid-free, archival paper. For limited-edition, fine-art prints that will appeal to both casual buyers who appreciate my work and the serious print collector, I feel there is only one option for this project and that is acid-free, archival paper.
Paper Finish: When testing the different papers from my preferred manufacturer (Fotospeed), I found they had a range of colour temperatures and finishes, from smooth to textured, from matt to glossy and from warm to cool. I already knew I wanted a cooler, non-textured, semi-gloss finish so I purchased a test pack of papers with various options that aligned with what I wanted and got busy testing.
After extensive testing and lots of printer ink used, I found Fotospeed’s Platinum Baryta 300gsm the best paper for the job. I love how my black-and-white cityscape work looks and with a throwback to the dark room look Baryta paper provides, there is a classic, even ‘timeless’ look to the final print. Here’s a description of the paper I pulled directly from Fotospeed’s website:
Platinum Baryta 300 is 100% acid-free, Fine Art paper with a smooth unglazed gloss surface. A natural white base and state of the art micro-porous ink receiving layer delivers a high D-MAX (2.99) and wide colour gamut. Platinum Baryta 300 reveals delicate highlights and smooth transitions to shadows for both colour and B&W printing. The paper is approved by the Fine Art Trade Guild and when used in conjunction with pigment inks will ensure a print life of more than 85 years.
The process I follow for printing my Timeless City photos
As I mentioned at the start of this post, the experience of viewing pictures on screen doesn’t come close to the feeling of holding a print in your hand, but it doesn’t stop there. To get the very best print possible, a few things need to be done to adapt the image so that how it looks on screen is as close as possible to how it looks on paper.
Preparing the image file for printing
There is a big difference between viewing an image on a backlit monitor to an image on paper with only reflective light available. Ultimately this means that if I don’t tweak the image first, it will likely print dark, soft and lack contrast. So these are the main things I change for each image before printing.
I will normally boost the brightness by half a stop or more, increase contrast, and sharpen the image. Alongside these standard tweaks, I will often selectively dodge and burn (decrease or increase brightness) in specific places to ensure those areas retain detail and contrast once on paper.
Although Platinum Baryta 300gsm is on the whiter end of the fine art paper spectrum, it still prints a little warm for the look I am after, so for every photo, I adjust the white balance slightly to cool the image down meaning the printed image will appear more neutral and not to warm. This is purely to taste and not a necessary step for everyone.
Using the correct printer settings
When sending the image to the printer, certain settings must be used. I won’t list them all, but two points I feel are incredibly important to get right are using the right profile for the paper and printer combination and setting the right paper type in the printer settings.
Using the correct ICC Profile: As I mentioned before, my paper is manufactured by Fotospeed and they provide standard ICC profiles (and instructions) for all papers when printed on a Canon or Epsom printer. All I had to do was download the right profile, install it and select that profile in the print options.
Setting the paper type: The second setting I always check is choosing the right paper type from within my Canon printer’s settings. Again, Fotospeed provides a handy table on their website which matches their paper to the options available in the printer settings. For example, to get the best results when printing on Platinum Baryta, I need to select “Photo Paper Pro Lustre” from the Canon printer settings. Without setting this, I won’t get the final look I want.
Hard-proofing to make sure the print looks right
With the image prepared and printer settings set, the only real way to know I’ve made the right choices is to start printing. This is called hard proofing (or hard-copy proof) and will typically consist of smaller versions of the image or just small cropped sections at 100%. This initial method helps to get a good idea of the tones, luminance and quality while preserving paper and ink.
Creating my Artist’s proof
With the smaller or partial version looking right, the last stage in the proofing process is to print the image on the right paper, at the final 7x7'“ and 10x10” sizes. Different photographers and artists will have various ways as to how they manage and even sell their artist proofs as they’re not included in the count of limited editions sold, but if you want to read a bit more on the Artist’s Proof, you can start here at Wikipedia.
Signing and certifying my limited edition prints of London
All of my limited edition prints are signed and numbered on the white border, underneath the picture. I sign close enough to the picture so that the collector can choose to show or hide my signature when the print is mounted and framed. With the Platinum Baryta being a semi-glossy paper, I need to sign with ink as a pencil won’t work and my pen of choice right now is the Faber-Castell Pitt Artist Pen Fineliner XS India ink pen. Whatever the pen you choose, the most important thing about choosing one to sign archival prints is that they should be waterproof, permanent, acid-free and pH neutral.
If selling my prints as limited editions is to be successful, I have to instil confidence in the buyer that the print run is truly limited and I will only sell the number of copies of a given print I say I will. Once advertised and the first in a limited edition run is sold, there is no going back and nor should there be. This is where the certificate of authenticity (COA) comes in. Alongside proving the work’s provenance and authenticity, the COA is my signed contract to the buyer on which I certify the image is a genuine limited edition.
The certificate I provide with every print includes the following information;
Logo and title
Statement of authenticity
Name of the print and edition number
Date the photo was taken and printed
Dimensions of the print and image of the artwork
Medium the image is printed on
My signature and date the certificate was signed
How I pack and ship my limited edition, fine art prints
As I researched how to package and send my prints, I had four key objectives.
Secure: The way I package the prints must be tough and secure as I don’t want the print to be damaged during transit.
Sustainable and environmentally friendly: The materials used to manufacture the packaging should be sustainably sourced with minimal plastic used, and fully recyclable.
Archival: To ensure longevity, any materials that come in contact with the print must be acid-free and pH-neutral.
Presentable: I want the end-to-end experience of buying a print to be one of quality and attention to detail, and that starts with how the print is received and opened so, alongside being secure and sustainable, the packaging has to look presentable too.
So with these four objectives in mind, here’s a quick breakdown of some of the key materials I use to package and ship my print:
Black presentation box: The presentation box I use looks good, keeps the print secure and is environmentally friendly. The boxes I use are biodegradable, made from recycled materials, sustainably sourced and fully recyclable. In addition, the A4-sized box I use is compostable.
Glassine Envelope: Each print is placed in an envelope before it goes into the presentation box. I opted for Glassine envelopes as they are recyclable, compostable, biodegradable and manufactured with renewable materials. Anything that comes in contact with the print must be archival, so the glassine envelope is also acid-free and pH-neutral.
It’s important to be as transparent as possible when discussing sustainability so it should be said that the manufacturing process of glassine envelopes is quite resource-intensive but this will be minimal compared to similar petrochemical & fossil-fuel-based materials such as plastic.
White card and envelope: I use a white card to print the certificate of authenticity and place it in a white envelope. I use a white card sheet to add rigidity to the print while in the glassine envelope. The card and envelopes I use are made from 100% recycled materials.
Mailing bags: Having had many deliveries left on my doorstep, exposed to the elements, I do not want to risk the same happening to one of my prints without being adequately protected, so unfortunately this is where I feel I am forced to use plastic packaging (for now at least). Although far from ideal, I have ensured the mailing bags I use are made from fully recycled plastic and code 4 LDPE, meaning they can be recycled using most standard domestic services. I will continue to seek alternatives and update the post when I have one. All suggestions are gratefully received.
Final thoughts
Hopefully, that provides a useful insight into the process and equipment I use when producing my limited-edition, fine art prints.
Whether you're a collector considering purchasing my work or a fellow photographer beginning your fine-art printing journey, I hope this article helps you appreciate the craftsmanship behind each print I make. If you have any questions about my Timeless City project, feel free to reach out to me via my contact page and if you are interested in owning your own limited edition print of London, visit my Timeless City store using the button below.
Until next time.
Trevor
Journeys Into the Wild: The Photography of Peter Dombrovskis | My Photo Bookshelf
A book featuring the photographic work of the great conservationist, Peter Dombrovskis.
If one of my all-time favourite landscape photographers, Joe Cornish talks highly of any photographer, I take notice and after watching some videos a few years ago featuring Joe talking about the late Peter Dombrovskis and discussing his work, it quickly became apparent to me this was a photographer I needed to know more about.
Peter Dombrovskis was a landscape and conservation photographer known for taking pictures of Tasmanian wild places and was instrumental in preventing the damming of the Franklin River in the 1980s. Peter died in 1996 while photographing the Western Arthur Range in southwest Tasmania, but even now, 30 years later, he still has a strong following in the landscape photography community. After reading this book, I can see why.
Author’s synopsis
Journeys into the Wild is a poetic escape to a fragile and breathtaking wilderness, with celebrated photographer Peter Dombrovskis as your guide. Commentary and an extended introduction by Bob Brown allow readers to engage with the photographs on a deeper level.
Bob Brown and Peter Dombrovskis forged their friendship in the battle to save the Gordon and Franklin rivers. As a founder of the Wilderness Society, Bob organised the blockade of dam works on the Franklin, recruiting Peter and his iconic photography to make the case for conservation over profit.
During the campaign, Bob accompanied Peter on one of his kayak trips down the Franklin and observed his process as a photographer. Peter would go on to take one of the most famous photographs in Australian history, Morning Mist, Rock Island Bend, Franklin River, an image that featured in calendars and diaries across Australia and that was integral to the success of the campaign. The two remained friends until Peter’s death in 1996.
My thoughts about the book
I’m so glad I purchased a copy of this book because it tells such a compelling story about the power of passion, perseverance and photography, and how, when used together, they can bring about meaningful change for the better.
Created by former Australian politician and environmentalist Bob Brown, Journeys into the Wild tells Peter Dombrovskis’ story, about his emigration from Latvia to Australia when young, his first camera, the friendships he made and how all of that forged a path for him to become one of the most influential conservation photographers of his time His work was used in a campaign to help protect thousands of square miles of unspoilt Tasmanian wilderness and for that story alone, it’s a book worth reading.
Dombrovskis was equally known for his large format, landscape photography and this book includes much of his work, with a particular focus on the National Parks of Tasmania. From wide, landscape vistas such as the peaks of Cradle Mountain to close-up, intimate compositions of a leaf’s skeleton at Mount Mulu, this book is a feast for anyone who appreciates natural landscape photography. The Tasmanian landscape is incredibly diverse and quite different to what I see photographed today. Dombrovskis was able to tune into the finer details and record them on film so future viewers of his work would get a glimpse into how the national parks of Tasmania looked many decades ago and as a result of the work he and Bob Brown undertook, how those national parks thankfully, still look today.
I know I’m a relative latecomer to Peter Dombrovskis’ photographic party, and many who read this will already be aware of his work or have a copy of one of his books. Still, none of that matters, as after finishing this book, it’s clear that like many of the landscape photography greats, his story and accompanying work has and will continue to stand the test of time for future generations to discover.
Book Details
Hardcover
Size: 280mm x 220mm
Pages: 200
Availability at the time of writing: Limited availability in Europe but there are some about. I purchased my copy from https://www.abebooks.co.uk/.
New Photos | Autumn 2024
A collection of photos taken during Autumn 2024.
This is now the fourth instalment of my “New Photos” series, a project conceived to ensure my photography is seen on my website and in my newsletter before being shared on social media. These aren’t portfolios showcasing my very best work, but more a snapshot of the share-worthy photos I made during those three months and if, during that time I manage to take just one or two portfolio images then I consider that a bonus.
Below are the previous three instalments of my “New Photos” series.
September to November 2024 - Autumn 2024 collection.
One thing you might notice in this edition is just how few traditionally wide landscape photos I took during the autumn. For various reasons back in 2023, I didn’t have the time I wanted to photograph the changing colours in my local forest, so in 2024, I made a concerted effort to spend more of my photography time there and as a result, I had less time to photograph what would be considered traditional landscapes.
(You can click on the smaller photos to see a larger version)
Apart from the photo of Brighton’s West Pier below and London’s cityscapes further down, the only shareworthy landscape images I photographed were taken from the same spot. This viewpoint overlooks part of my local forest and is one I visit often before venturing off amongst the trees to photograph the woodland.
Landscape Photography
I’ve spoken before about the West Pier along England’s south coast in Brighton and how I visit from time to time to photograph this composition, capturing its skeletal remains as it slowly gets taken by the sea. On this particular morning in early autumn, conditions weren’t great and I had no light to speak of, but I kept this photo because of the additional context it provided. The water was clear and for the first time in countless visits, I could see the scattered pieces of metal that had fallen into the sea when the pier collapsed, adding to the story of this cursed seaside structure.
Cityscape photography in London
These days, nearly all the time I have to photograph London is spent creating work for my Timeless City project. I tend not to share those photos here as I’m still building that body of work, adapting and learning as I go, but every so often, I’ll take a picture I feel should also be processed in colour. Alongside this, I feel that my shift to taking more black-and-white cityscape photos is now starting to influence my colour work, (for the better I hope). My colour photos are more muted with less busy compositions and a simpler colour pallet.
Photographing an autumnal woodland
As mentioned above, I spent a lot more time this year amongst the trees, photographing the colours as they changed from deep, late summer greens to vibrant oranges, yellows and finally the dull browns of late autumn. My ability to look closer at the woodland has slowly improved and as such I thoroughly enjoyed my time last year, stretching myself photographically, and finding new, intimate compositions while revisiting some old favourites along the way.
Although I’m generally happy with the photos I took of the Autumnal woodland in 2024, particularly the tighter, intimate compositions, I still feel I lack the vision and awareness to spot the small scenes around my feet and as a result, I don’t take anywhere near as many photos of small scenes as I would like. I did manage to take a few, however. The green fern at the beginning of autumn and bookending the season, a collection of frosty fallen leaves towards the end of November.
Photographing the northern lights in Sussex
As I left work one evening in October, the socials were ablaze with aurora alerts for the south of England and having missed the opportunity to photograph the northern lights back in May, I quickly decided to head out of the city and into Sussex to try to capture them. I wrote more about this amazing evening of photography in the blog post below.
Photographing the Brecon Beacons in Late Autumn
In mid-November, I made a late dash to the Brecon Beacons to photograph the waterfalls. Being so late in the season, nearly all the leaves had fallen, leaving very little foliage on the trees, but I dug deep, got creative and came away with a handful of photos I liked.
Wow, that’s over 40 photos I’ve shared from my photo outings in Autumn. I’m pretty happy with that. As always, feel free to message me or leave a comment with any questions or feedback you may have.
Until next time,
Trevor
Outdoor Photogrphy Magazine Feature
I was featured in a recent edition of Outdoor Photography magazine. Read the article here.
After a very generous recommendation from the talented Vanda Ralevska, I was recently (and very kindly) asked by writer and author, Nick Smith, to be interviewed for a multi-page feature in the UK’s Outdoor Photography Magazine. We met one afternoon in London and talked about all things photography such as how I got started, why I enjoy photographing the London cityscape and the synergies between cityscape and woodland photography.
I was also given a PDF copy to share with viewers of my website. If you have a few minutes, I welcome you to have a read and as always, feel free to post any questions or feedback in the comments below.
Alternatively, you can read the article using this embedded version or download it directly here.