While our recommended frame color and border or bleed choice is what we feel best complements the art and vision of the artist, by all means, choose a look that best complements your style and space.
Paper Size: Is based on Full Bleed and adding a border will change the aspect ratio, so paper size may adjust slightly smaller.
Glazing: To eliminate reflective glare, our biggest work (70″ to 80″ on the long side) is protected by an archival laminate in lieu of acrylic. Up to 60″ on the long side is protected by UV acrylic.
Border: If the framed image above is showing a white border, then clicking on Full Bleed will not show what full bleed looks like. We only show how a border will look. Your choice will appear on your order. The border on work up to 40″ x 60″ is about 2.5″ and about 3.5″ on our biggest work.
Frame Color: Clicking on Frame Color will not change the color of the frame, but your choice will appear on your order.
Frames: Our frames are custom made from robust solid wood Studio moulding, 2″ deep with a 3/4″ face width and joined at the corners with butterfly joints.
Orientation: Some work can be displayed either horizontal or vertical—should you wish to change orientation, please contact us and we’ll place the D-rings accordingly and confirm via email.
We print exclusively on Hahnemühle 100% Cotton Photo Rag Baryta paper and museum shadowbox frame in solid wood, Studio moulding handcrafted in a robust, contemporary profile preferred by galleries and museums worldwide.
Ask us should you need help or clarification. And please double check your (c)art to ensure your choices are correct.
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The vast unforgivable landscape – the desert, hides an invisible energy that feeds my soul. Since I first visited the barren landscape of the American Western states, I have been in love; attracted to the landscape, the energy, feeling of discovery and the drive across it, so I have been returning ever since. On one of my road trips in California, I was searching for the most beautiful Yucca brevifolia aka the Joshua tree, as I was experimenting with lighting and photographing them in different techniques. On one unexpected stops along the road, I found it. It stood tall and majestic, almost kind of symmetrical. As I wanted to visualize this energy I speak of, I experimented shooting through diffraction glasses as it was too early in the day to use the flashes and gels. And there it was, a visualization of it, the energy that feeds me, floating around the landscape like transparent apparition – with beams of colorful light coming up from above, like somebody shining down on me. Maybe it wasn’t a coincidence that while I was photographing the Joshua tree, the band LSD and the search for God was playing on one of my playlists. A perfect name, to an experimental photograph, that could be mistaken for an acid trip.