We work on five substrates. Each prints differently. Each ships flat. None are signed; each carries the mark.
Hahnemühle. The hallmark substrate.
Two papers, both 100% cotton, both archival, both matte. Photo Rag (308 g/m²) is the default — smooth surface, deep blacks, clean colour. German Etching (310 g/m²) is moodier — a slight textured weave, warmer shadow, longer tonal hold in the midtones. The same image looks like two different rooms across them. We do not recommend one over the other.
Stretched, wrapped, ready to hang.
Heavyweight (400 g/m²) poly-cotton canvas on a 38 mm stretcher bar, stapled at the back. Defaults to image wrap — the photograph continues around the sides — but the wrap is a free customer choice: black, white, mirror, or image. Sits 38 mm proud of the wall. No glass, no frame, no glare.
The canvas, floated inside a wood profile.
Stretched canvas mounted with a small reveal inside a thin wood frame — the canvas appears to float a few millimetres back from the moulding. Frame finish is the customer's: black, natural, or white. 38 mm depth overall. Ready to hang. The closest the catalog comes to a traditional frame; the rest is paper or open canvas.
ChromaLuxe satin aluminium.
Image dye-sublimated into a satin-coated aluminium sheet. No paper, no canvas weave, no glass — the image lives inside the metal surface. Quiet matte sheen, not high gloss; cooler in the highlights, longer shelf-life than paper. Sits on a recessed mount, half an inch off the wall. Caps at 24 × 36 inches.
Solid wood. No border, no glass.
A single sheet of solid maple, image printed directly onto the wood, sealed clear. Grain reads through the lighter tones of the photograph — the print and the panel become one object. Natural finish only. No border. Cleat-mounted; sits flush against the wall.