EDOMIND / CREATIVITY
The cultural role of images is decisive, just as words are. Images are directly related to the realm of mentalities, and their cultural and historical significance lies in the intentions, uses, and purposes that enable their production and trajectory. Every photograph results from a process of creation.
Fine art photography is a form of artistic expression in which the photograph conveys the photographer’s personal vision. Its character emerges from the author’s experiences, intentions, knowledge and choices throughout the creative process.
In my practice, this authorship is accompanied by particular care in transforming the image into a physical work. The choice of paper, inks, printing process and presentation is part of that commitment.
I work with specialist printing studios and carefully selected materials to achieve the intended colours, tonal relationships and textures, while supporting the long-term preservation of the print.
Artistic authorship and print quality are complementary aspects of my approach. A technically excellent print alone does not define a photograph as fine art; equally, the preservation of an artistic photograph depends on appropriate production, framing, handling and display.
A photograph can be a work of art regardless of how it is printed or presented. Its artistic significance is not determined solely by the paper, printer or certification used in its production.
The expression fine art print also draws attention to the physical object: the choice of paper and inks, the quality of the printing process and the care taken with its presentation and preservation.
In my practice, I bring these dimensions together: an original photographic vision and a carefully produced print, with materials selected to respect the image and support its conservation.
The price reflects a combination of artistic and production factors. These include the photographer’s career and body of work, alongside the print’s dimensions, paper, printing process and presentation.
My photographs are currently offered as open editions, without a predetermined maximum number of prints. Their pricing reflects the work and care involved in creating and producing each photograph.
Different print sizes and presentation options provide possibilities for different spaces and budgets. Framing, where included, also contributes to the final price.
I encourage you to choose a photograph for its meaning and the connection you feel with it. Its purchase price does not guarantee future resale value or appreciation.
In my practice, an artist’s proof is a print reserved for possible photographic exhibitions. It allows me to present the work in a curatorial setting, with attention to its printing, materials and display.
These prints are retained for exhibition purposes and are not offered for sale. They may be identified as AP, or PA for the Portuguese expression prova do artista.
A test print used to assess colours, contrast or paper is not automatically an artist’s proof.
My photographs available for purchase are offered as open editions. The designation of an exhibition print as an artist’s proof does not impose a limit on the number of prints available for purchase.
Framing is part of the care given to a photographic print. Carefully selected paper and inks need an appropriate mounting and framing system to support their preservation.
Materials in contact with the photograph should be suitable for photographic conservation. Ordinary cardboard, unsuitable adhesives and direct contact with the glass can damage the print over time.
A conservation-quality mount or suitable spacers keep the photograph separated from the glazing. The backing and frame should also be selected and assembled with the protection of the work in mind.
Good framing brings together preservation and presentation, allowing the photograph’s colours, textures and composition to be appreciated. The finished work still requires thoughtful placement, away from direct sunlight, excessive humidity and sources of heat.
The materials are selected to complement each photograph’s visual character and support its preservation. Paper texture, surface finish and tonal response all influence how the printed image is experienced.
For my photographs, I have worked with fine art papers from Hahnemühle, Canson and Awagami, choosing the paper according to the image and the intended presentation.
Printing is entrusted to specialist studios, with attention to colour management and the compatibility of paper, inks and printing process.
Mounting, backing and protective packaging also require care. Materials that come into contact with the print should be suitable for photographic conservation; an “acid-free” label alone does not establish suitability for every photographic material.
The materials and production details applicable to a particular work should be confirmed in its accompanying documentation.
A window mount, also known as a passe-partout, is the board surrounding the photograph within a frame. Its opening reveals the image, while its width and colour contribute to the presentation of the work.
Beyond its visual role, a properly designed mount helps keep the photograph separated from the glass or acrylic glazing. This reduces the risk of the print sticking to the glazing if moisture develops.
The mount board, backing and attachment materials should be suitable for photographic conservation. The photograph should be secured using an appropriate method that allows for its physical characteristics and future conservation needs.
A mount does not make a photograph resistant to humidity or mould. Its width is primarily a presentation choice, and the framed work still needs suitable environmental conditions.
For some presentations, spacers provide the necessary separation from the glazing without a visible window mount.
A certificate of authenticity documents a photograph’s identity and authorship. It may record the title, photographer’s name, print dimensions, production date and signature.
For my current open-edition photographs, the certificate identifies the work without specifying a maximum number of prints. Authenticity refers to the work’s authorship and documented origin, rather than to a restriction on its edition size.
A printing certificate records details of the print’s production, such as the studio, paper, inks or printing process. This information may appear separately or within the same document as the authenticity information.
Where paired, numbered holographic labels are used, one accompanies the photograph and the matching label its certificate. These numbers help connect the print with its documentation; they do not indicate a limited edition.
Keep the certificate and purchase records safely. Together, they help document the photograph’s provenance and production.
My signature brings together the identification of the work and a personal connection with Japanese culture. I incorporate the expression Ichigo-Ichie — 一期一会 — into my signing practice.
I sign by hand in the lower right-hand margin using a 6B graphite pencil. Additional information about the photograph may be written on the reverse, and a personal dedication may accompany a work offered as a special gift.
My current photographs are offered as open editions and do not carry limited-edition numbering. Any identifying number on a certificate or holographic label serves to connect the individual print with its documentation.
Prints reserved for possible exhibitions may be identified as AP or PA, reflecting their role as artist’s proofs in my practice.
The signature and accompanying documentation provide a consistent record of the photograph and its relationship with my work.
A photograph can become a deeply personal gift when its image resonates with the person receiving it. A place, a detail of nature or a particular atmosphere may evoke memories, express an affinity or mark a shared experience.
Choosing a work involves considering the recipient’s interests and the space in which it will be displayed. The image, print size and framing all contribute to that relationship.
A photograph signed by its author and accompanied by a certificate of authenticity carries a personal connection with its creator. A dedication may add another layer of meaning.
Over time, the work can become part of the recipient’s everyday surroundings and personal history — an image encountered repeatedly, with room for new associations and interpretations.
I see accessible luxury as the possibility of living with an original photographic work whose authorship, materials and presentation have been carefully considered. Accessibility is relative to each person’s budget, but different print sizes and presentation options can offer different starting points.
By offering my photographs as open editions, I seek to bring signed photographic works to a broader circle of people who appreciate art, including those acquiring their first print.
A photograph may be chosen for a home, a professional space or a personal collection. Its significance can lie in the relationship it creates with the viewer, as well as in its physical qualities.
The invitation is to choose a work that holds meaning for you, with clear information about its authorship, production and price.
The choice of glazing balances protection, visual clarity and cost. Glass or acrylic with documented UV-filtering properties can help reduce exposure to ultraviolet radiation, while anti-reflective options can improve visibility.
UV protection and reflection control are different characteristics. When choosing glazing, ask the framer about both, together with its suitability for the work’s size and display conditions.
Some anti-glare glass uses a textured surface that may soften the appearance of photographic detail. Specialist anti-reflective glazing uses different technology and can offer greater clarity.
For my photographs, I value a clear view of the paper’s texture, colours and tonal relationships. The final choice should respect these qualities while providing appropriate protection.
No glazing makes a photograph safe to display in direct sunlight. The print should also remain separated from the glazing by a suitable mount or spacers.
No. Fine art photographs can be offered as limited or open editions. The edition model is a choice made by the photographer; it does not, by itself, determine a work’s artistic quality.
I now offer my photographs as open editions, without a predetermined maximum number of prints. This approach allows me to concentrate on the creative work and the quality of each print, without making a commitment to a numbered edition that requires ongoing monitoring.
Each photograph continues to reflect my personal vision and the care devoted to its printing, choice of materials and presentation. Its significance rests in the image, its authorship and the relationship it creates with the viewer.
I see accessible luxury as the possibility of living with an original photographic work whose authorship, materials and presentation have been carefully considered. Accessibility is relative to each person’s budget, but different print sizes and presentation options can offer different starting points.
By offering my photographs as open editions, I seek to bring signed photographic works to a broader circle of people who appreciate art, including those acquiring their first print.
A photograph may be chosen for a home, a professional space or a personal collection. Its significance can lie in the relationship it creates with the viewer, as well as in its physical qualities.
The invitation is to choose a work that holds meaning for you, with clear information about its authorship, production and price.
Thoughtful handling, framing and display help preserve a photographic print. Keep the work away from direct sunlight, excessive humidity, sources of heat and areas subject to condensation or water leaks.
Handle an unframed print as little as possible. Support it securely, avoid touching the image surface and follow the handling instructions provided by the artist or printing studio.
For storage, use an enclosure suitable for photographic conservation and keep the print in a clean, dry place with stable environmental conditions. Avoid ordinary cardboard, adhesive tape and packaging that may damage the surface.
When cleaning a frame, apply cleaning products to a cloth rather than spraying them directly onto the glazing. Prevent any liquid from reaching the edges of the frame or the print.
If you notice mould, staining, sticking or other damage, consult a qualified photographic conservator. Do not attempt to clean or separate the affected print yourself.
Keep the certificate of authenticity, purchase records and production information safely alongside your records of the work.
I know no better definition of the word art than this: Art is man added to nature; to nature, to reality, to truth, but with meaning, with a conception, with a character that the artist emphasises, and to which he gives expression, rescues, distinguishes, liberates, illuminates.
