How the prints are made, and what happens after you enquire.

Prints are made through a photographic fine art print specialist, on a large format pigment printer. Nothing is held in stock. Each print is made when it is ordered, and checked before it is packed.

A photograph is printed either on paper or on canvas. On paper there are two surfaces: a lustre photographic paper that holds the deepest blacks, which is what most of this work is printed on, and a matte fine art paper that sits quieter in a room and reads closer to a drawing.

On canvas the image is printed and stretched over a frame, so it hangs as an object in its own right with nothing between you and the picture. It can be supplied ready to hang as it is, or set into a float frame.

If you have a preference, say so with your enquiry. If you do not, I will tell you what the photograph you are asking about is best on, because it is not the same answer for every picture.

Sizes are confirmed on enquiry rather than listed against each work. Where a photograph's proportions differ from the sheet it is printed on, the image is printed to size and the paper is trimmed around it, rather than the picture being cropped to fit.

Canvas is made at the same sizes as the paper prints.

Every piece is released in a strictly limited edition, and nothing is reprinted once an edition is sold out.

The edition belongs to the photograph, not to the format. An edition of twelve means twelve prints of that work exist, in whatever mix of paper, canvas and size the twelve buyers chose. A canvas does not start a second run and neither does a larger sheet. Numbers are issued in the order works are sold, so the number you receive depends on when you buy rather than on what you bought.

The edition size is stated on each work's page and is never increased once published. Paper prints are signed and numbered in the margin, so the sheet is ordered with a border for the signature to sit in. A canvas has no margin, so it is signed and numbered on the reverse.

Up to two artist's proofs are held outside the numbered run. They are marked as proofs rather than numbered, and they are counted in addition to the edition, so no more than fourteen prints of a work with an edition of twelve will ever exist. Proofs are not for sale, now or later. They exist so the work can be exhibited, shown and given without a buyer's edition number being spent on it, and holding them back is what keeps the number on your print meaning what it says.

Every piece ships with a signed certificate of authenticity recording the title, plate number, edition number, what it is printed on, the size and the date of printing. The plate number is a global accession number. It is assigned once, never reissued, and stays valid as a reference for the life of the work.

Paper prints are supplied unframed by default, with a margin left for framing or for hinge mounting behind a window mount.

A framed option is available, made by the same studio that makes the print, so the work is never handled twice or posted between two trades. It is framed shadow box style, which means the print sits behind a spacer and never touches the glazing. Mouldings are plain and narrow, in a small range of finishes from raw oak to black. Glazing is UV filtering acrylic as standard. Glass can be specified if you are collecting the piece in person, since glass at these sizes does not survive a courier.

A canvas is either supplied stretched and ready to hang, or set into a float frame, which leaves a shadow gap around the edge of the canvas rather than covering it. A float frame adds about 3cm to the overall size.

Prints are made to order. Your piece is dispatched within five business days of the order being settled, and if anything is going to move that date I will tell you before it does.

Unframed paper prints are rolled and sent in a heavy duty tube. Framed work and stretched canvases are boxed with the surface protected.

Prints ship worldwide. Shipping is quoted with your enquiry rather than assumed, is paid by the buyer, and is tracked and insured for the full value of the work. Any import duty or tax charged on arrival is also the buyer's. Collection in person can be arranged if you would rather the piece did not travel.

If a piece arrives damaged, stop unpacking and photograph it before anything else. Send the outer packaging as it arrived showing all sides and the shipping label, the inner packing, and the damage itself, along with your order number, within seven days of delivery.

Photographs are required rather than requested. They are what the carrier needs to accept a claim, and without them there is usually no claim to make. The same goes for reporting promptly. Neither affects any right you have under Australian Consumer Law.

With that in hand, a print damaged in transit is replaced with a print bearing the same edition number. The damaged one is returned and destroyed, so the edition size is never exceeded.

Handle by the margins or with cotton gloves, keep out of direct sunlight, and frame behind glazing that blocks UV, which is what the framed option here already does. Pigment on archival stock is rated well beyond a lifetime under those conditions, and considerably less well under a north facing window.

A canvas hangs with no glazing in front of it, so keeping it out of direct sun matters more rather than less.