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 Daniel Shipp
In the newspaper one day I came across a story about how children were giving evidence in court cases via a closed circuit TV. The child would be in another location and their image would be on a screen in the courtroom. That created a strong visual in my mind, and I knew I could do something that evoked quite a response from the viewer, even if the actual meaning of the image was ambiguous. I really liked the idea of a child being so vulnerable to an unknown audience. I photographed the images on a very low-resolution digital camera, and then played them through a small old CRT television set which I rephotographed on a medium format film. This adds a physical layer to the images and effectively magnifies the way the television screen breaks the images into units of red, green and blue. I liked emphasizing how a process so mechanical and mathematical can transform into an image that evokes feelings. Conceptually there’s something very familiar about the television texture, which animates the still image and suggests the potential of 'story' in the image. I was essentially trying to subvert familiar concepts and create an unsettling experience for the viewer.