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 photo was taken at the foot of Skogafoss waterfall in Southern Iceland, during a road trip round the island in December 2014. It was about -15 degrees and extremely windy. We’d tried and failed to climb round to the top, so instead resolved to try and get as close as possible to the foot of the waterfall. Due to the cold, the spray from the waterfall had frozen in strange shapes around the area. This photo was taken after I turned around to capture a group of tourists that had followed us on the way up. The photo was taken in a throwaway manner, the mist coming from the waterfall had completely soaked my lens and I didn’t think much of the shot. It was only afterwards when I realised that the softness of the wet lens, the golden light from the low Icelandic winter sun and the silhouetted figures in the foreground had come together so brilliantly.