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 David Ellingsen
Since starting out with film and the 4×5 view camera in 2000, my photographic career has seen amazing advances in the “tools of the trade,” resulting in a lot of outdated technology in a short amount of time. I think of the first Hasselblad camera I bought....30 years old and ready for me to use it for many more. Now you’re lucky to get 3 or 4 years from one camera, if that. I see this mirrored strongly in the communications and entertainment industries, which most everyone can relate to, and that is why Obsolete Delete began there. For this series I wanted to build an image instead of find one. I have seen many excellent documentary photographs concerning this subject matter and consider others to be the masters of that process. I feel my strengths lay a little beyond the realm of stark reality and controlling the objects and how they fit into the landscapes creates for me a more unique point of view and consequently a stronger photograph.