Stokksnes, Iceland

(Click on the images to enlarge)

Limited edition print (edition of 20)

pigment ink print on fine art archival cotton paper:
     _ 58 x 87 cm: 115,00 euro
     _ 39 x 58 cm:   55,00 euro
     _ 17 x 25,5 cm:    25,00 euro

upon request, prints can be matted for the following standard frame sizes:
     _ 70 x 100 cm:  + 60 euro
     _ 50 x   70 cm:  + 30 euro
     _ 30 x   40 cm:  + 15 euro

signed, with certificate
* depending on the intended viewing distance, a larger print size may be possible within this edition of 20; please contact me using the contact form or the 'buy this print' button below, to discuss your wishes
_ prints come with a white border of 1,5 to 2 cm on each side, which allows for proper handling and facilitates matting and framing; the size mentioned above is a net size that does not include this border;
_ a hinged matt is made of a white Daler-Rowney mountboard (back) and a white Canson Ingres Vidalon matt (front) with a white core; both boards are acid-free, and conform to the ISO 9706 standard for permanence; the print is mounted with a T-hinge using archival Abaca Hinging Tape, which is used for the hinge as well;
_ prices include VAT, but do not include postage, packaging, matting or framing;
_ prints are always made on demand; as such a purchase cannot be cancelled once the print has been produced;
_ prints on archival fine art papers up until 58 by 87 cm are printed by myself on a Canon ImageProGraf Pro 2100 printer, using archival Canon Lucia Pro ink;
_ disclaimer: as part of the printing process, and to ensure my personal quality standards are met, two AP/PP prints are produced: one on an A4, and one in the format at which the print is advertised above; the larger size print is typically used for exhibiting, unless an HC print was made specifically for that purpose; the smaller one can be part of my paper portfolio.  

Paper choice for this print was less straightforward than I’d originally imagined. I felt certain the lesser contrast of a matt cotton paper (Canson Rag Photographique) would be closer to reality, and in fact, I was right: the brightly coloured dust in the air did have the effect of brightening the shadows while removing detail, bleaching the scene, and somewhat resembling a watercolour painting. The pictures above of the print illustrating the framing process all show the matt paper.
Out of curiosity – or maybe because I was less sure than I thought I was, I later made a new print on the Platine Fibre Rag, and frankly, the result was striking, even more so when framed: less akin to what I saw at the time, yes, but with a tonal richness that didn’t stem from the ubiquitous and overzealous use of contrast and saturation sliders. The exceptional tonal quality was provided by the paper, in a way that easily surpasses viewing the picture onscreen (as such, showing pictures of the new print is kind of pointless) – which I did not expect at all when I started my printing journey. To my surprise, the clouds of dust remained equally visible, as well as the tonal separation between the mountain flanks, albeit in a different form. What’d come through with the Platine, and what I’d missed printing on the Rag Photographique, was the feeling that’d made me stop the car, unpack my gear and be hungry and tired a little bit longer: the almost suffocating feeling of atmospheric density, of air heavy with dust and light. The Platine it is for this print.

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