Read our guarantee at bottom of page or on support page.
When I begin entering information here about the prints I offer I was not thinking it would be all that much or very technical. I really wanted to keep it short and sweet. But I soon discovered that is not possible and still provide the information I feel every person deserves to have. So I must apologies at the begging for the lengthy information that follows. I am a stickler for details in my work and what I produce and knew it would not be fair to leave anything out no matter how insignificant I think it may be.
There is a good deal of information following on this page, some a little technical some you may find unnecessary, but it is information that I feel inclined to openly share. There are no secrets or information left out. It is here for you to understand and know exactly what you are getting when you purchase a print. Quality art is not cheap, I wish it were. And to be rather blunt, I have no desire to produce "low cost" aka "low quality" art. It is still my goal to make it available to anyone wishing to own it. Art is after all a personal way of seeing, experiencing, and appreciating, the world we live in.
If you are purchasing a print, from anyone, and don't know exactly what you are getting, ask. Ask about paper, printer, ink. Are you purchasing fine art created by the artist with that in mind, or is it just a picture they didn't put much thought into. There are differences in prints that are available these days. Differences you should know about, differences worth knowing about.
Today there are a few varying methods for producing printed art work on paper. We no longer have to rely on chemicals used to expose light sensitive paper in a darkroom. Though the darkroom method still exists for some dedicated old school photographers, this method is most often used for the physical presence of the interaction rather than superior results.
A method that is very popular these days is a method originally known as “lightjet” now more commonly known as RA-4, Chromogenic, C-Prints, or most widely recognized as “Photo Lab Prints”. Don’t be fooled, these are all the exact same thing.
Photo lab, (RA-4, chromogenic, c-prints, lightjet) color images are composed of three main dye layers—cyan, magenta, and yellow—that together form a full-color image. The light-sensitive material in each layer is a silver halide emulsion—just like black and white photographic papers. After exposure, the silver image is developed (or reduced) by a special color developer. In this reaction, the color developer in the areas of exposed silver are oxidized, and then react with another chemical, the dye coupler, which is present throughout the emulsion. This is the chromogenic reaction—the union of the oxidized developer and the dye coupler form a color dye. This entire process takes place inside a Durst Lambda, Océ LightJet, or ZBE Chromira printer capable of making hundreds of prints per hour at a very low cost. These are budget prints, low cost and large quantity outputs being the primary objectives.
Light jet, C-Prints, Photo Lab Prints, whatever you chose to call them are primarily printed on “Fuji Crystal Archive” or “Kodak Endura” paper. There are a few lesser known manufacturers of substrates for this process as well. Afga, Ansco, GAF, Konica, 3M, Ferrania, and possibly a few more. These papers are specifically designed for the chromogenic process. Some are not actual "paper" at all. These various materials are not even considered fine art papers and for good reason. Primarily their archival properties are far inferior. Some materials are actually more plastic than paper. I have seen artist boast as if this is a good thing. It is not. These photo lab printers are the typical printers you will find in places such as; Costco, Walgreens, Walmart, express print stores, and most online photo labs. Prints are cheaper because they are geared towards portraits, wedding, and general mass production not fine art. Profit margins are much higher when selling these type of prints. One must ask themselves, is the artist selling the highest quality print available or the highest profit margin print available. Anything other than archival pigment ink on archival fine art paper is placing profits above quality regardless of how they try to spin it with fancy terminology. These photographic substrates archival properties are poor to moderate at best. They are in no way comparable to true fine art papers available today. All artist have a choice in how they produce their work. That is their prerogative. One must ask why would any artist not chose the highest quality options available? My point is not to shame other artist processes, but to help explain what has become confusing descriptions of what is and what is not high quality prints on paper.
So what is used by professional artists who truly want the highest quality printed art available today? There is only one choice, professional fine art ink jet printers utilizing pigment inks on archival fine art papers. This combination has become state of the art for textural quality and longevity in the fine art print world. They are simply better in aesthetic and archival qualities.
Be cautious when making a purchase of substantial cost when specific answers are not provided. It has become common practice these days for photographers to claim their work is fine art and or archival. If this claim is made there should be information explaining exactly how their work meets the set standards. I know this sounds somewhat untrusting, but don't take their word for it just because they say so. Be cautious of terms such as; Premium Prints, High Definition Prints, 3D, Metallic Paper, Specialty Paper, Super Flex (Fuji) Photographic Prints, etc. All these terms are virtually meaningless when it comes to the quality and archival nature of the print. There are lots of confusing marketing terms out there used for one purpose, to increase your cost. Take a little extra time and learn about the terms that are thrown around in the print world and what they mean. The bottom line is; how is a print produced and what is it produced on. If you do not know what you are buying, ask, ask, ask.
Okay, sorry for the somewhat unnecessary descriptions but I feel they are important when making an informed decision on purchasing art. After all art can be expensive so it is best to know exactly what you are paying for.
I have made a firm commitment to produce only the highest quality fine art prints available today. This is why all of my work is produced to museum archival standards utilizing the highest quality fine art ink jet printers on the market (exclusively Canon and Epson) and carry our exclusive guarantee.
Our printing methods and materials are simply superior to any other method available today. Superior in color quality, color fidelity, detail quality, print media options, and last but not least archivability. My favorite reason personally is the media options, that is to say choices of paper. Not just any paper but true fine art 100% cotton archival papers.
With all this being said I chose to produce true archival fine art prints using the highest quality materials and equipment available because what I do is not for mass production or a dozen wallet size pictures to hand out. It is, I hope, for appreciation and viewing enjoyment for many many years.
It is more expensive to produce true fine art prints due to time involved and materials. Once you hold a print that has been printed to exacting standards using actual pigment on fine art paper such as Hahnemühle Photo Rag, Canson® Infinity Aquarelle Rag or a number of other 100% cotton papers you will immediately appreciate the quality, look, and feel. Compared to others, the differences are striking and immediately noticeable. Yes I’m picky about these things but the payoff is worth it, for the print and ultimately for you.
Fine Art Paper currently being used:
All prints larger than 12x18 inches produced with the Epson 9900 professional wide format printer using Ultrachrome pigment inks and Canon professional wide format IPF printer using Lucia pigment inks. Prints up to and including 12x18 inches may be produced with Canon Pro-100 printers using ChromaLife 100+ inks.
The sizes you see stated anywhere on this site refer to the actual printed area on the paper. That being the case the actual paper will be slightly larger or depending on the desired finished size substantially larger. I am constantly testing and evaluating fine art papers. Specific paper is personally chosen for each and every print. With this the case you can be assured you will receive your fine art print on the exact paper I consider the finest available for each print. The results are fine art prints up to 40x60 inches that are simply breathtaking. Unless instructed at time of order I will chose the best paper to produce the highest quality print that enhances both beauty and detail of each image. All prints are signed and come with a Certificate Of Authenticity.
We do not offer limited edition prints. If you would like to know why I would encourage you to read this: Limited Edition Prints.
Custom sizes for all prints are available at no additional charge, prices based on a per square inch bases. More pricing info here.
Any image from Brad Mangas may be converted to Black & White at no additional charge. Proofs will be sent before ordering.
As with prints on papers all canvas prints are not the same. Differences are just as with paper, quality of materials and attention to craftsmanship. This attention to all details is what will make your canvas not only standout from others but guarantee a lifetime of view enjoyment. Canvas, again as with paper, must meet the highest quality of standards for me to be able to offer to you.
The preferred method of displaying canvas prints is the gallery wrap method. A handcrafted wooden stretcher frame is sized to the desired finished print size and are typically 1.5 or 1.75 inches thick. Edges of the image to be printed are mirrored before being printed. Mirroring reproduces each side and flips it to give all outside edges of the frame a "mirrored" effect of the prints edges. This allows the entire image to remain uncompromised thus preventing the cropping of the image that would occur otherwise. The canvas is then stretched around the wooden frame and secured on the back. This creates a canvas print that has been wrapped around a frame. Hanging hardware is attached and at that point is ready to hang. No additional framing or glazing (glass) is needed. This saves significantly on your final cost.
Currently canvas prints are produced utilizing:
Framed Gallery Wrap Canvas Prints are also available. To learn about our standard frame for our gallery wrap canvas click here.
Canvas gallery wraps are available directly from the price list and ordering page. Rolled (unstretched) canvas prints are also available. Please contact us for exact pricing of unstretched canvas prints if this is what you would like.
As with our prints on archival paper custom sizes are available for canvas gallery wraps at no additional charge, prices based on a per square inch bases. More pricing info here.
Click thumbnails for larger view of canvas gallery wrap and details.
In my opinion a product is only as good as it's guarantee. That is why I offer this unheard of guarantee on all my work. Your purchase of any fine art print on archival papers, canvas, canvas gallery wraps, or any custom piece you purchase is guaranteed for life from fading in color or quality. In addition to your lifetime guarantee of quality your purchase comes with a 1 year satisfaction guarantee. If you simply are not satisfied with any piece for any reason you may return it within 12 months for a full refund. That's right, you can return a piece at anytime within 12 months from date of purchase for a full refund. There is no catch but there is a stipulation. The piece needs to be in same condition it was when you initially received it. If you receive a piece and it was damaged during shipping I will immediately replace it at no cost to you. You simply need to provide a picture of the damaged piece. I can not refund a purchase if the piece has been damaged after you receive it. When shipping art tremendous precautions must be made to insure it is not damaged. If you return a piece for a refund you are responsible for the packaging and shipping costs. If I receive a piece that has been damaged during shipping I can not refund the purchase. Please package and ship all items the same as you received them. It must be in the same condition as when originally purchased. Please refer to these guidelines for proper handling of your art.
I am fully confident of what I offer and stand behind all of it 100%.