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.
by Victor Vargas Villafuerte
Teratology is a series that explores the perception of monsters in modern societies by placing them in everyday situations and environments. The series consists of 11 digitally manipulated color images. The Project was developed in three stages: Personal, Individual and Collective. In the Personal stage I compared my early fascination with monsters and my modern perception, being a self-portrait as a monster the result of this stage. People were contacted through the Internet for the Individual stage. After explaining the concept of the project to them they were asked to pose naked reenacting an activity that they do often in the place where they usually perform that activity (kitchen, the park where they walk the dog, etc.) Subsequently the manipulated images were presented to the people portrayed generating different reactions that went from an initial repulsion that gradually mutated as the persons started to recognize themselves in some elements. The Collective stage presents the images to the public, which even if the creatures depicted are unknown will identify themselves in some elements (anatomically and culturally). Monsters have been perceived differently through time, and from one culture to another. Feared by some and admired by others, praised like gods or despised as aberrations, monsters are part of nature and all human societies. Teratology, from the Greek teratos (monster or marvel), and logos (study of) is a series that explores the modern perception of monsters by placing them in everyday situations and common places, and by highlighting the similarities rather than the differences with the normal people.