All the prints displayed on this website have been produced from the finest archival museum grade materials available.
Printed on Canson Infinity Baryta Photographique, or Epson Fine Art Velvet paper depending on the subject, these are acknowledged as some of the finest archival papers available world wide.
All prints are limited edition. The total edition number is as detailed against each print information.
Each print is 16 x 12 inches, and is mounted in a 20 x 16 double archival mat which will fit dirctly into any commercially available standard size 20 x16 frame. Prints can be produced in any size up to A2 or 20 x 16, and any print produced to a size other than the standard 16 x 12 size will still be part of the limited edition run. No prints will exceed the stated edition number irrespective of size. which would fit into a standard 24 x 16 frame
Each print is signed and dated, with the edition number of the print in the border of the print which is not visible once mounted in the mat.
All other materials used up to the final presentation of the print are also of the highest archival standard. This includes 4 ply archival museum grade 100% cotton rag mounting board and archival hinge for the mount board, and the 'T' hinges for the mounting of the print to the mount board.
The Certificate of Authenticity, again printed on archival paper, and the polyester acid free sleeves enclosing the print and COA, are all acid and lignin free, ensuring the longevity of your print given proper care and framing, to in excess of 100 years.
This all amounts to a 100% totally acid and lignin free product at the point of purchase.
Care must be taken when framing the print, and it is advisable to use white cotton gloves for the removal of the print and contents from its protective polyester sleeve to ensure that acid and oils in the hands are not transferred to the mount board or the print.
Most commercially available frames are acceptable for framing the print including wood and metal. It is however advisable if using wooden frames to ensure that the wood is protected with an archival barrier tape.
This will prevent any raw wood coming into direct contact with the mounting board which could have an adverse effect due to acid leakage over time from the wood.
Glass and acrylic is also acceptable for the glazing of the frame.
If the glass requires cleaning on the inside surface before the placement of the print in the frame, it must not be cleaned with proprietary glass cleaners, as most of these contain ammonia, and this must not come into contact with the mounting board or print.
Once the print has been framed it is also advisable not to display in direct sunlight, and given the proper care as detailed above, your investment should last without deterioration to in excess of 100 years.
© 2013 Mike Neale
The mat will also be signed with the same information if requested at the point of purchase, this is usually a matter of personal preference. This will then be visible once the mounted print is framed.
The mat is also stamped on the back of the mat detailing the edition number, the date the original photograph was taken and printed, and the location, and again is signed by the photographer.
A Certificate of Authenticity is also provided with the print, again printed on archival paper with 100% archival materials, This is enclosed in a seperate acid free polyester sleeve, and finally the matted print and the Certificate of Authenticity is enclosed in a further polyester sleeve.
All inks used, including print inks, signature and stamp inks are pigment archival inks. The print inks utilise the latest Epson Ultra Chrome K3 inks. These Incorporate high density pigments and produce prints with an extremely wide colour gamut allowing the reproduction of colours that were originally envisioned at the point of capture. With its expanded colour gamut and breakthrough 9 colour system, no other ink set can reproduce the three dimensional life like quality and stunning photographic feel of Epson Ultra Chrome K3 inks.