The Prints

Traditional Hand-Made Black & White Prints

Prints produced using traditional wet-process methods will never be offered in large editions and will be featured on the website when available. Please reach out through the contact form if you’d like to be placed on the notification list for new handmade black and white fine art prints.

Silver Gelatin

Silver gelatin enlarging paper has been the foundation of traditional black and white fine art photography for over 130 years. These prints begin as digital files, projected onto fiber-based silver halide paper and processed in traditional darkroom chemistry. The technology that exposes the image has evolved; what follows remains unchanged. The result is a print with tonal depth and luminous shadow detail that only silver in paper can produce.

Platinum / Palladium

Offering platinum/palladium prints still feels ultra special to me. Many of the greatest photographers of the nineteenth and twentieth centuries turned to it for their most important and intimate work, despite its scarcity, expense, and painstaking nature.

Platinum and palladium prints have long been chosen for work that demands subtlety and permanence. The image is formed from noble metals embedded directly into the paper’s fibers, producing a tonal range that holds detail deep into the shadows and carries a natural warmth. The process is slow and exacting, but the result is both visually distinctive and extraordinarily stable, with archival life measured in centuries.

---

Modern Media

Fuji Crystal Archive Professional Paper

Fuji Crystal Archive Professional is a traditional silver-based color photographic paper developed in wet chemistry. It offers accurate color, strong tonal depth, and a smooth, lustrous surface that supports both saturation and fine detail without losing balance in highlights or shadows. 240 gsm glossy silver halide paper.

Ilford Galerie Silver Black & White Paper

Ilford’s Gallerie Silver is a silver halide paper that brings the tonal richness and permanence of traditional black and white photography into a broader range of editions. The chemistry remains consistent with classic darkroom processes; only the scale has changed. 190 gsm glossy silver halide paper.

Fujiflex High Gloss

Fujiflex is a dye-based photographic process known for its exceptional color depth and surface luminosity. It produces a level of saturation and clarity that gives images a distinct presence, with an archival stability that allows that presence to hold over time.

Archival Pigment Ink Printing

Archival pigment prints are produced with fade-resistant inks on 100% cotton rag paper, creating a matte surface with refined detail and tonal control. The pigments are embedded within the paper fibers, supporting long-term stability and making this a versatile, widely used process for fine art photography prints.

ChromaLuxe HD Metal Print

ChromaLuxe metal prints are created by infusing dyes into a coated aluminum surface under heat and pressure. The result is a clean, luminous image with strong color and clarity, presented without the need for glass or framing and well-suited to spaces where durability matters.

Museum Mounted


Museum mounted prints are produced on Fuji Crystal Archive Professional paper for color prints, or Ilford Galerie Silver B&W paper for black and white prints, mounted on a stable aluminum Dibond backing, and then face-mounted behind optical-grade acrylic glass. The acrylic enhances depth, contrast, and color in a way that gives the image a quiet dimensional presence while the Dibond adds protection and structural support — a frameless presentation that makes a definitive statement on any wall.

---

Limited Editions

A limited edition print is exactly what it sounds like: a finite number of prints made from a single image in a specific size and medium. Once that number is reached, the edition is permanently closed. No additional prints are ever produced in that tier.

This matters to collectors for two reasons. First, scarcity: knowing that only a fixed number of a work exist gives the print genuine rarity. Second, consistency: every print in an edition is produced to the same standard, from the same files, by the same printer, on the same materials. Your print is not a later approximation — it is the same work as every other in the edition.

At Brian Creek Photography, editions are defined by three factors together: the image, the print size, and the medium. A photograph offered in both Fujiflex and ChromaLuxe carries a separate edition count for each combination. This means the total number of any specific print — that image, that size, that material — is always clearly defined and tightly limited.

Our edition sizes are tied directly to the size of the print. Smaller prints are produced in larger editions at more accessible price points; the largest works are rarer by design, produced in strictly limited numbers and priced accordingly. The edition size for each print, along with available sizes and pricing, is shown on that photograph’s individual page.

When you receive your print, you will find it marked with its edition number written as a fraction — for example, 7/50. The bottom number is the total size of the edition: the fixed number of prints that will ever exist in that combination of image, size, and medium. The top number is your print’s unique place within it. Print number 7 of 50 means exactly that — yours was the seventh made, and fifty is all there will ever be.

Available sizes, media options, and pricing for each photograph can be found on that photograph’s individual print ordering page.

Certificate of Authenticity

Every limited edition print is accompanied by a signed Certificate of Authenticity. The certificate documents the title of the work, the location photographed, the date of the photograph, the date printed, the print dimensions, the medium, the print lab, and the print’s unique edition number. That same edition number, along with Brian’s signature, is placed on the print itself.
The Certificate of Authenticity is not a formality. It is the permanent record of your print’s place in the edition — proof of what it is, where it came from, and that it will never be duplicated.

Artist’ Proofs

Artist’s Proofs are Brian’s working proofs and are not part of the regular edition. They become available occasionally and unpredictably — when Brian has one and chooses to offer it rather than retain it. When available, they will be listed on the photograph’s page. There is no waitlist.

We rarely offer open edition prints.

---

Shipping & Production

[PLACEHOLDER — TO BE REVISED AFTER PIRATE SHIP RESPONSE]

Content to include:

• Production timeline (4-6 weeks typical, longer if traveling)
• Made to order (not warehouse stock)
• Ships via UPS
• Shipping costs [at checkout OR in confirmation email – pending Pirate Ship integration info]
• International shipping available
• Professional packaging
• Framing note: Prints ship unframed. Custom framing available on request (additional cost, longer production time, higher shipping costs).