All prints are Digital Pigment prints on museum-quality acid-free papers such as Museum Etching, Canson Rag and Arches Velin. These papers are designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. The choice of paper is suggested by the Photographer according to his or her preferences.
All prints are Digital Pigment Prints using the latest top of the line technology, archival high dynamic inks and 200 years old life paper.
No, the photograph is not signed, instead the Photographer signs a Certificate of Authenticity (COA) which accompanies very limited edition prints (1 to 30). The COA protects the security and genuineness of your limited edition print. Larges editions (31 and more) don't come with a certificate of authenticity.
The smaller print sizes are produced in larger editions and do not come with a Certificate Of authenticity to make them more widely accessible and more affordable. Photographs are available in different formats depending of the artist, small, medium or larger scale. The large-scale print size is normally produced in a very limited edition (1-30 prints) making them more valuable because of the limited number available and they also come with a signed and numbered certificate of authenticity.
The Print Atelier aims to achieve accuracy between the photographs you see online and your final print. However we cannot be responsible for minimal differences deriving from reproduction techniques that may exist between the presented image and the print. Computer screens may differ and the colour and contrasts of the image on the screen may not look exactly like what you receive. This is because different types of monitors are calibrated differently. Also, any prints with a soft focus or texture work (grain, spots, etc.) were created that way for artistic purposes.
No. Our prints are on standard paper sizes and we don’t alter the image size and proportions to fit the paper. Each print has a minimum 0.5 inch white border.
David Ellingsen is a photographer and environmental artist creating images of site- specific installations, landscapes and object studies that speak to the natural world and Man’s impact upon it. At its core David's work is motivated by the challenges of sustainability within contemporary Western culture.
David has been exhibiting his work since 2001 within commercial and public galleries in Canada, the USA, Asia, and Europe. His photographs are part of the permanent collections of the Chinese Museum of Photography, the Dana Farber Cancer Centre at Harvard University and the Beaty Biodiversity Museum and have been shortlisted for Photolucida's Critical Mass Book Award, awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles.
David is also recognized for his advertising, corporate and editorial photography with a client list that includes the Business Development Bank of Canada, Time Inc., Enbridge Inc., PricewaterhouseCoopers, the Canadian Broadcasting Corporation along with Men's Health, People, Marie Claire and the New York Times magazines.
Originally from Cortes Island, a remote community of 800 residents in Canada's Pacific Northwest, David was raised on a small family farm surrounded by forest and ocean. His photography is rooted in this rural upbringing, which emphasized the importance of pairing quality with practicality, people with the environment and the individual with the communal. These values continue to inform his working life.
2015 | The Last Stand, Initial Gallery, Capture Photography Festival
2013 | SeaLife, British Columbia Law Courts
2012 | SeaLife, Beaty Biodiversity Museum
Hibernus, Akasha Art Projects
2009 | Hibernus, Galerie BMG
Hibernus, Camerawork Gallery
GROUP EXHIBITIONS | SELECTED
2016 | Intervals: Photography in Flux, South Main Gallery, Capture Photography Festival
2015 | Environmental Photographs of the Year, Royal Geographical Society
2014 | Vancouver Art Gallery Art Auction
2013 | Enviromythology, Initial Gallery
Photography and Environmental Concern, PhotoPlace Gallery
2012 | Victoria: Art Collections from the Region, Art Gallery of Greater Victoria
International Photography Awards Best of Show, Smashbox Studios Pro'jekt LA II, Month of Photography Los Angeles + Chop House Post Sea Inside: Design, Culture and Marine Ecology, Emily Carr University Vanimaux, Food, Fur + Foraging, Gam + Remington Galleries
2011 | Imprint, Luz Gallery Vancouver/Vancouver,WorksfromtheRickEricksonCollection,Gallery1965 Kodachrome in Bloom, Luz Gallery
Elements of Water, The Center for Fine Art Photography
2009 | Future Imperfect, Lishui International Photography Festival Arbor, Michael Mazzeo Gallery, New York, USA
2008 | Boundaries (with artist Michael V. Smith), Kelowna Art Gallery People + Places, Trunk Gallery, Coastlines, Trunk Gallery 2007 Art+ 5, Onepointsix Gallery
Tickle Trunk (with Michael V. Smith), Jeffery Boone Gallery
2005 | 25x1, Lumen Gallery
2004 | Vancouver, Exposure Accrochage II, Aion Art Gallery
2003 | Art+2, Onepointsix Gallery
A Matter of Time, Exposure Gallery
PUBLIC ART INSTALLATIONS
2016 | WeatherPatterns,CityHallSkytrainStation,CapturePhotographyFestival
AWARDS | SELECTED
2015 | Finalist, LensCulture Earth Awards
2013 | Winner, Applied Arts Photography + Illustration Awards
Shortlisted, Kontinent Awards
2012 | First Place, International Photography Awards
First Place, Prix de la Photographie Paris
Winner, Applied Arts Photography + Illustration Awards
2011 | Shortlisted, Photolucida Critical Mass Book Award
Winner, PDN Awards
Finalist, Top 200, Photolucida Critical Mass
2010 | Winner, Creative Quarterly Magazine Awards
Winner, The Center for Fine Art Photography
Finalist, International Arte Laguna
2009 | Winner, Applied Arts Photography + Illustration Awards
Merit Award, Black + White Magazine
Honorable Mention, Prix de la Photographie Paris
2008 | Honorable Mention, International Photography Awards
MAGAZINES + PERIODICALS | SELECTED
2016 | Janna Dotschkal, ‘The Last Stand, Seeing the Trees Through the Forest: Vestiges of Ancient Woods’, National Geographic Proof, January 27
2015 | Anne Grahm, ‘The Last Stand’, Art Reveal Magazine, Issue #7
2013 | Ashley Kauschinger ‘David Ellingsen Interview’, Light Leaked, March 11
2012 | Aline Smithson, ‘David Ellingsen’, Lenscratch, January 7
Andrew Nguyen, ‘Obsolete Delete’, CanCulture, September
Chinese Museum of Photography, Lishui, China
Beaty Biodiversity Museum, Vancouver, Canada
The Center for Fine Art Photography, Fort Collins, Colorado, USA Dana-Farber/Harvard Cancer Center, Boston, USA
Cleveland Institute of Art, Cleveland, USA
Four Seasons Hotel + Resorts, Toronto, Canada