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 During his years working and experimenting in London, Sean has developed his very personal style and technique, with no specific lessons or courses, but totally self-taught, learning everything through first-hand experiences. He has become a specialist in fine art black and white photography with creative and innovative images that capture strong and full of charactere atmospheres. From his initial field of very visually powerful studio portraits to his current architecture and arts subjects, each photograph is entirely developed and printed by hand with traditional techniques and handfinished with special processes to make every work more invaluable. He creates each photographic print with the highest level of care and accuracy, applying each treatment according to the image and the final effect he wants to achieve, with a great eye for composition and light, choosing the type of paper, colour toning, chemical materials and processes with uncompromising precision. Through this handprinting process, with unrepeatable acts of creative and artistic individuality, he makes a unique piece out of every one of his photographs.


 His photographic creations are not only a reflection of his research into working methods and materials, but also of his emotions and his qualities both as a photographer and a person very aware of his surroundings. Every work is for Sean a further move towards advancing his skills and techniques, always striving for innovation, with a research and progress approach to go beyond the usual working limitations and to generate pictures capable of conveying the ideas behind them, his inner vision, the emotional and evocative potential of each subject and his passion for and dedication to this art form.




 All the photographs on display here and in our shop have been printed using traditional methods and materials. Fibre base baryt paper, which from the earliest days of manufactured photographic papers has been the standard for art & exhibition purposes, is still widely in use today. These papers come in a variety of finishes, such as matt, semi-matt, glossy, smooth & textured and respond well to all types of chemical toning.


 To be historically correct, fixed, graded papers are used here, and contrast is varied by different developers. There are two main types of the light sensitive emulsion coating these papers:

Chloro bromide, which gives the warmer tone and responds best with chemical toning.

Silver bromide which gives the colder tone.


 THERE ARE NUMEROUS COLOUR TONERS AVAILABLE OF WHICH:

SELENIUM, which gives maximum archival stability whilst giving a red to brown colour.

SEPIA, which improves image permanence and gives the classic antique colour.

GOLD toning, which does not give a gold colour, but contains gold salts, was widely used last century for archival permanence. The image colour used on its own is a very subtle blue, but when used on a sepia print, gives various tones from peach to copper/red.

One unusual technique is LITH PRINTING. The developer is designed for maximum contrast and is normally used by the graphic arts and lithographic industry for line copying work.
When used at different dilutions and on certain papers, produces a highly unique effect and various different colour tones, difficult to describe.

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 We have now expanded our work to include the earliest forms of photographic printing, the results are the most individual & artistic. There are numerous different techniques and each process is made according to the exact formulas, by using raw chemicals. Most processes are made by employing a quality art/watercolour paper, (linen & cloth can also be used) by making the light sensitive chemical compound, coating the paper and producing an image by contact with a negative sheet film. Here are some of them:

SALT PRINT. This is the earliest, invented by Fox Talbot, in 1835, produces a rich reddish brown tone.

ALBUMEN PRINT. Invented by Blanquart Evrad in the 1840, similar to salt prints, but with glossy surface.

CYANOTYPE. Invented by Sir John Herschell in 1842, this very unique process produces a blue image, using iron salt compounds.

GUM BICHROMATE. Discovered towards the end of the nineteenth century, uses colour pigments and dyes, one interesting way of producing a painting-like effect from photographic negatives.

One other interesting technique is BROMOIL, also discovered at the turn of the century. A non supercoated fibre base photographic paper. Printed normally in an enlarger, is then bleached and the image re-developed by using lithographic printers ink. The result is rich with excellent shadows and highlights. Any ink colour can be used. All these prints have archival stability.


 All the printing techniques on display and for sale, combined with imagery from medieval Tuscany, are the most unique & artistic currently available. All photographs are presented in mounting boards of different types & colour, all board has neutral PH. But, for maximum archival permanence, the museum board, which uses 100% cotton fibres and is acid free, is recommended.

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