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Fine Art Prints

|  Limited Edition Print Releases |                                          

Selected Photo Works are specifically chosen to be made as photogravures from an archive of images made since 2019.

During each season a special limited edition print will be released and available to purchase. 




Browse the gallery below to see more prints in the archive, all enquiries welcome.

To get information before each release, sign up to mail list.


The organic process of growing a wide body of work over time -draws my interest and discovery of new motifs.

Adding to each series at intervals on a cyclical seasonal basis.  



Print Portfolios 


  • Underland Series 2019 / 2020                                                                            

  •  Web Land Series 2018 / 2020 archive 

  •  Botanical Series 2019 / 2021

  •  Mid Winter Series 2019 / 2021 

  •  La Gomera, Finca Series 2019

  •  Göta Älv  2021 / 2022

  • Elements of the Long Season IV  2022

  •  Portfolio Under Development HYPHAE SERIES 2020 

  • Bespoke Boxed collections up to 15 images can be ordered by request. 


NEW*  SHORT ARTISTS VIDEO | Circular Rituals in Print   

Watch Here                                                                                            





Traditional Photogravure comes from an old intaglio ´photo-mechanical´ printmaking process and mainly produced in the specialist printing industry on Rotogravure Press, to create a photo based image on paper.

It's not directly a photographic process in the traditional photo dark room sense, but it is derived from methods first developed in 
early 19th century photography. Czech painter Karel Klíč in 1878 built on this technique, the original founded by Henry Fox Talbot's research into Photographic Engraving. ( There is also historical lineage that stems back from Nicéphore Niépce, Heliography method ) 

This old form of Photogravure is not so commonly used today due to lengthy, toxic, chemical staged process. It takes a lot of work to make a grained surface pattern on a metal plate, usually on copper. Careful preparation is needed to expose a film positive on top of a light sensitive gelatin film. The  results of which are permanently etched on the substrate. This plate can then be reproduced over and over, with a high level of detail and continuous tones, it resembles a grainy  photographic print, but with a unique depth and quality of its own. 

Today's Alternative Photopolymer Gravure, is a simple contact transfer process - a safer non toxic method of transfer onto a substrate of metal coated with photo sensitive emulsion. The transfer of an image through a photo positive transparent film is exposed to ultra violet light, that is then developed in water and cured by light again to make it suitable for making multiple prints. This newer method has been adapted from industry's planographic printing process used commercially, and since the 80's has been taken up by artists since  made even safer to work with since the 90's.. It can be used to produce finely detailed works or experimental in combination with other forms of printmaking.

This quicker method gave me the means to make digital captures with hands on analogue printmaking.  I not only felt comfortable using a safer method for producing artworks, but I wanted to consider my health and in turn be environmentally conscious. This has been sitting with me since over 20 years ago, when I started my first job working in film & darkroom lab developing prints for a photographic studio. This was just around the time of when the digital technologies started to be more widely introduced. 
I produced a series of Large Photo Etchings on copper with a product called IMAGE ON, introduced to me by printmaking technicians and tutors at the Art Collage U.W.E Bristol. After break from printmaking, during my time as a printmaking tutor at the Bluecoat Art Centre, Liverpool where I ran advanced couUK.theses in Printmaking, and  produced photo collages using Image On and Lazer-Tran. It wasn't until recently I actually dove back into it fully whilst learning how to transfer images through this safer alternative process. 

October 2019 I attended a workshop with the highly inspiring Henrik Bœgh, at Grafisk Eksperimentarium in Copenhagen. Over the past few years I have been testing and adapting this technique with the hope to further advance my use of alternative non toxic methods for protecting the environment and healthier conditions for fellow printmakers at the print studios I’m with here in Sweden and in the UK.



Photopolymer Gravures I produce are individually hand pulled prints on high quality, heavy weight printmaking paper, I mostly use Hahnemühle German Etching. My imagery begins life as a unique digital capture, derived from a series or a theme captured in nature undertaken throughout the seasonal year. After careful digital processing to convert the digital image into greyscale to suit the process, the image is transferred onto a transparent film before being time exposed  on a ultraviolet light unit. The transparent positive is tightly sandwiched on top of a light sensitive metal plate ( Toyobo KM 73 ) and between a vacuum bed and piece of glass during a set exposure time. During this contact the image is transfered to plate and is then etched in a water solution, to develop and in grain on the surface before being hardened back on the UV light unit and then ready to print.
print all my plates by hand in the traditional Intaglio way. Each unique plate is individually hand inked and wiped to sensitively pick up fine photographic details from the delicate etched surface. They are run through a traditional flat bed etching press  ( pressed under a heavy steel roller) and sandwiched between dampened etching paper and fine woollen blankets (felts).  Each time I print, this method produces a unique set of photographic printed works, sometimes with quite unexpected results. The detail in the tonal values are which I find so particularly interesting with this method of working. My eye and hand intricately work at each stage of the process, to translate its own visual language with a certain subtle characteristic of definition and depth of tone.  
Each edition from the same plate can be unique in its own way. This adds to the originality and it is not my intention for every print to be an exact reproduction of the last. That would be mechanically machine produced. The images are inked by hand in rich striking monochrome and sometimes as soft duotones, depending greatly upon what I choose to enhance and resonate through each photographic impression. You could say Original Multiples is a contradiction in terms,  but simply put they are a variation on a theme.

mostly produce works in a series, steadily taken from my own photographic captures, which group together as a ranging PORTFOLIO.
Also in development behind the scenes are experimental amalgamations. I am interested in mixing other forms of printmaking techniques such as copper etching using a safe ground and photopolymer, carborundum for adding textured colour, and playful tetrapack collotypes. These are ongoing experiments I shall continue in the background until I have a method I am happy with - Check back in on Instagram for any updates.
The most recent Limited Edition Print Releases will feature on this page, but more information about my previous photographic works, kept in the archives are available upon request.  Please email to peruse this archive list.
From time to time, I'm open to commissions and opportunities for photographers and artists to produce their works through this alternative photographic process. I tailor make prints to your specific designed project.
Individual Quotes & examples available. 

Contact me direct to discuss your unique project idea. 

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