• We start with the best photographers, the people who train professional photographers from around the world.
• They use the very best cameras, lenses and other equipment.
• We select the publishable quality work.
• We then select from this a fraction of one percent of their superb results, selecting only the best of the best.
• We have this edited on a fully colour managed system and a large print made on a fully profiled printer that can be inspected. No printing is ever contracted out it is all completely under our own control.
• Any with any imperfections are discarded.
• A selection is then made from this, of the images that will be issued as limited edition prints.  Although we will have a range of prints they are spread over a number of styles and image types.
• The entire production process is done to archival quality,  using archival, preservation and museum grade material, inks, mounts and other materials that will really last and produce the finest results. Your print will be naturally dried for over 24 hours flat, and not touched by hand at any stage.
• The finest mouldings are selected, and from these only the perfect parts are used to create your frame, and it is manufactured individually, with full quality control at every stage. We reject any that are less than perfect.
• Museum glass is used, this has hardly any reflection and virtually invisible under most viewing conditions, allowing all the definition, detail and colour of your image  to show through but at the same time protecting it, so it will stay in a similar state for more than your lifetime.  This glass is so good that many people feel they have to touch it to check that there is really glass there. Although this glass is considered too expensive by others producing limited editions, adding up to £200 over the cost of putting in ordinary glass, of the overall price, we know it is the only means to show these works off to their full potential.
• A photographic artist will check every one in detail before issuing its certificate of authenticity.
• Editions are kept small, with only 80 in any size and 295 across all sizes of any image. Plus there is a signature edition in one size only, with an edition size of just 30 for the serious collector.
• With Limited editions you have a choice from a range of quality frames, and mounting is to a standard professional art style. Both the frame range and mounting style will be available as long as we are able to obtain the materials so that you can build a matching collection. The signature editions are mounted to a style and has a frame selected by the photographic artist that he or she feels shows off the work to its full potential, so are very special.
• Prices are structured so that the earlier in an edition you purchase your image, the  larger the discount you receive,  so that you will see the value of your collectable work increasing over time in up to 5 steps even before it is fully sold out.

The result

The final quality is effected by the sum of the imperfections, starting with the best, selecting the best of the best, and maintaining this at every stage produces exhibition quality work. Showing it in a frame and with glass that matches this quality makes it really  stand out. Being archival quality throughout and having the protection of the museum glass the print will stay bright, sharp and a work to enjoy for far longer than your lifetime.

The quality, collectability and limited sized editions as well as pricing structure makes it a sound collecting decision.

Your guarantees

You have a 100% money back guarantee if you are less than totally delighted.

You have a guarantee for your lifetime that the print will stay stable and bright, and that neither the frame, mounting or print will deteriorate. You don't have to hide it away, in a dark place, but can enjoy it fully. Should any problem develop, we will replace it for you. Once fully issued, only when we destroy a print will we print a replacement.

• OK, often competent photographers.
• Often limited by equipment.
• Selection of acceptable work.
• Often a far higher percentage of the overall photographers output.
• In many cases edited but not on colour managed systems, and printers often not profiled, frequently printing is contracted out to save money.
• In some case printed  by litho (magazine page quality prints) or cheaper ink jet systems used instead of long life and quality systems.
• Materials used, ink, paper, mounts etc selected by price, rarely archival quality, and prints are handled, so expect the enhancements of fingerprints showing over time, that is if they haven't faded by this time.
• Lower expectations, means that all is acceptable.
• Economy, run on moulding length, so imperfect, and sometimes disguised polystyrene mouldings used.
• Plain float glass or possible economy non reflective glass used, so image brilliance and detail is discarded.
• Often editions run of up to 800, we have seen 8,000, and as these are unlikely to sell out they are unlikely to increase in value.

Assumptions are often made

• That you will only look at images from a distance, so detail is unimportant.
• Most people have never seen really stunning collectable art photography, so will accept a far lower standard.
• Colour can vary between prints as few people will see other copies.
• Collectors will store prints in a dark place and others will accept faded prints over time.
• The quality required is as good as the herd, and you don't want exhibition quality.
• Limited edition is a sales gimmick, few if any editions will actually sell out. Values are realistically unlikely to rise.

The result

The final quality is effected by the sum of the imperfections. Perhaps not having as good a start they have started at a disadvantage and then accepting lower standards throughout, have lower expectations. Production costs playing a major role is also limiting, cheap mounts, frame  and glass are accepted and either reflections put up with for clarity or detail sacrificed to kill the reflection using an etched non reflective glass, but can help to hide imperfections in the print.

Non archival material, prints that have been handled, often not fully dried before mounting and produced in quantity with little quality control. Mounts can be expected to discolour.

Guarantees

Unlikely to have any, or only with small print, i.e. store in a dark environmentally controlled place etc.

Their advantage

They often, but not always cost less.

But if you took apart their work and took it to a competent framer and had it remounted to archival standards with museum glass, then you will be surprised to find that the combined cost of the print and framing to you, in well over 90% of cases is higher than selecting our superior images.