| PRINTS |
| All images on the Portfolios and Projects pages of this website are available as prints. All purchases will be newly printed and matted to order by the artist, using an HP Z3100 Designjet printer and HP Vivera pigment inks on Ilford Galerie Gold Fibre Silk (310 gsm, satin) or Moab Entrada Rag (300 gsm, matte) paper. Prints made on this printer using these inks and these paper types and displayed under glazing have been independently rated to remain stable for well over two centuries. (See http://www.wilhelm-research.com/hp/Z3100.html.) All matting materials are archival and of museum quality. No adhesives come into contact with the printed sheet. Overmats are available either 4-ply or 8-ply. All matted prints are available in black anodized metal museum type frames with uv filtering acrylic glazing, strung with wrapped wire and ready to hang. Please inquire for details. All prints bear the artist’s signature and seal on the recto of the sheet, outside the printed area, as well as their number in the printing history of the image. A Certificate of Authenticity with print details and bearing the artist’s signature and seal will be affixed to the back of matted/framed prints or included separately with unmatted prints. Most images on this website are in an aspect ratio of 2:3, whether in landscape or portrait format; some are in 4:5 aspect ratio, and a very few in 1:1 aspect ratio. Currently available sizes and current prices (unmatted) are as follows: 2:3 aspect ratio: 12x18 ($375); 16x24 ($475); 20x30 ($575) 4:5 aspect ratio: 12x15 ($350); 16x20 ($450); 20x25 ($550) 1:1 aspect ratio: 12x12 ($325); 16x16 ($425); 20x20 ($525) Dimensions are given in inches and refer to the size of the image, not the sheet. Depending on the resolution of the original file, some images may not be available in largest sizes; depending on subject matter, some images may be available in sizes smaller than those posted above. Prices are given in US dollars. For information and pricing on matting, framing, and shipping and for payment instructions, please send a detailed request to info@louismontrosephotography.com. Secure credit card payments may be made on PayPal through the CONTACT page of this website . A NOTE ON EDITIONS I have thought hard about this issue, and my thinking has been influenced by Brooks Jensen’s writing about film-based prints in his essay, “What Size is the Edition?” in Lenswork #36 (July-August 2001). In the age of woodblock prints and copper engravings, print runs were limited by the wear and tear on the plate in the process of printing, with successive impressions decreasing in quality. The age of digital capture and reproduction has eliminated such material constraints, making possible unlimited reproduction without either variation or degradation in the image. Under these technological circumstances, limited editions are an artificial means of creating scarcity in order to justify particular pricing decisions. There are two reasons why I choose not to offer prints of my images in limited or closed editions. The first is my discomfort with the disingenuousness of this enterprise. The second is artistic rather than ethical: I don't want to be constrained from taking full advantage of the power of raw digital capture, which makes possible successive interpretations and technical improvements of an image without any degradation of the original visual information. Rather than commit myself in advance to produce a set number of identical prints, I prefer to reassess the image each time before I print it, and to feel free to make minor adjustments or variations, or even to return to the raw file and to re-edit it into a new version if I think it has the potential to offer something more than or meaningfully different from the version that already exists. And rather than treat each size or each editing change as justifying a new edition, I number consecutively every print made from a particular raw image, and on the certificate of authenticity I also indicate three dates of provenance for this specific print: the date of original raw capture, the date of the latest editing of the image file, and the date of printing. In this sense, every print is at least potentially unique. |