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Print Options*:  
1. 5" x 7" UnSigned FujiColor Photo-Print[1] $5.00 + S/H
2. 5" x 7" UnSigned FujiColor Photo-Print FRAMED $30.00 + S/H
3. 8" x 12" UnSigned FujiColor Photo-Print $8.00 + S/H
4. 8" x 12" UnSigned FujiColor Photo-Print FRAMED $40.00 + S/H
5. 12 " x 18" UnSigned FujiColor Photo-Print $25.00 + S/H
6. 12 " x 18" UnSigned FujiColor Photo-Print FRAMED $70.00 + S/H
7. 8" x 12" Signed RC (resin coated) Paper Gilcée Print[2] $50.00 + S/H
8. 12" x 18" Signed RC (resin coated) Paper Gilcée Print $85.00 + S/H
9. 12" x 18" Signed Premium Cotton Paper Gilcée Print "Limited Edition" (of 10)
with certificate (has a numbered & registered holographic seal)[3] 		$250.00** + S/H
10. 8" x 12" Signed Ready-To-Hang Stretched Canvas Gilcée Print[4] $75.00 + S/H
11. 12" x 18" Signed Ready-To-Hang Stretched Canvas Gilcée Print $115.00 + S/H
12. 16" x 24" Signed Ready-To-Hang Stretched Canvas Gilcée Print $170.00 + S/H
13. 20" x 30" Signed Ready-To-Hang Stretched Canvas Gilcée Print $250.00 + S/H
*Sizes listed are the canvas size (all sizes are inches). Actual image dimensions are smaller by about 1" in width, allowing for a border. Please consult FAQ for complete information for all print options & info. If you would like exact image dimensions of a particular photograph or have any questions at all,
please email Kevin@KevinLogan.com

**This is the price for the 1st print of the edition sold. As prints sell, the price will increase. To find the current price add the photograph to shopping cart.
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Framing Sample
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Click To Enlarge
We use wood moldings, ph-buffered acid-neutral front mats, and foam-core rear backing. Due to shipping logistics, we glaze these framed prints with Acrylic (Plexiglass or Perspex), not glass.
 
Ready-To-Hang Stretched Canvas Sample
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Click To Enlarge
 
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[1][2][3][4] Paper Types: Our artworks are offered on different types of paper/printing methods. Visually, all papers & printing methods we use look excellent, but have significantly varying costs. The variance in cost is due to the nature of the substrate, inks used and degree of final finish. All of this relates to an issue of longevity. Different paper types/printing methods "age" differently, some better than others. Below the paper/printing types are briefly explained. The length of time suggested is an estimate, and based on much reading. Bear in mind though, that any print doesn't "cease to exist" or disintegrate at the end of it's estimated lifetime. Aging is a very gradual process, and empirical testing is done with very sensitive color spectrophotometers. To the eye, there may or may not be any noticeable change and the change that does occur may be deemed by an individual as perfectly acceptable. That said don't feel "pressured" to purchase the longest lasting type of print, unless perhaps you are a serious collector, possibly purchasing with investment as part of the decision-process. We are confident that whatever type of print you purchase, it'll offer years & years of enjoyment. Lastly, all of our prints (as all works of art) should be given consideration when framed, materials used (acid-free etc.) and finally location of display. No important work of art, photograph, painting, print, etc., should ever be displayed in direct sunlight. UV (ultraviolet light) is not our friend, nor is it kind to color dyes or pigments. UV is the primary culprit when it comes to discussing print longevity. However, UV is not the only consideration when considering print longevity. Primarily for those living in urban environments, smog is a factor, as smog frequently contains high levels of ozone. Ozone interacts with PVC (Polyvinyl chloride) in a harmful manner, and gradually causes the vinyl to deteriorate. However it does take a fairly long time & pronounced exposure. Once the print is framed, it is fairly well protected and anchored. Therefore, framing is suggested.
[1] FujiColor Print: The FujiColor prints we offer (our least expensive offering) are printed using laser photo-print machines, such as the Fuji Frontier. The process is identical to typical Photo Labs (C-41), one-hour photo companies, pharmacy printing, etc.. The substrate is RC PVC and the image is produced using dyes. Though inexpensive, FujiColor prints (C-prints) are the least stable we offer, therefore last the shortest period of time. If kept out of direct (or even strong indirect) sunlight, a FujiColor print is expected to "last" about 50 years. This will of course vary. Those living nearer the equator experience much stronger sunlight, while those living in northern latitudes experience less sunlight. Point is, keep the print out of sunlight, and all will be well.
[2] Resin Coated (RC) Pigmented Ink Giclée Print: Giclée (French, pronounced "zhee-clay", meaning "to-spray") prints are "inkjet" prints, but not all inkjet prints are Giclée prints. Generally, if a print is now referred to as a Giclée print, the implication is that it was printed with "pigmented" ink, as opposed to dye ink. A typical home desktop inkjet printer more often than not will use dye ink, due to it's inherent cost-savings. We do NOT use dye ink. Dye-ink inkjet prints fade very quickly, literally in days if in direct sunlight. We only use branded Epson or Canon OEM pigmented inks, the most respected in the industry. Our printers are top-shelf state of the art, carefully calibrated & maintained. We do "nozzle checks" before & after each print, and if there is any indication of a "dropped nozzle", the print is discarded and reprinted. The RC substrate we use is top-quality, either Fuji-Hunt or Epson. The substrate is satin-finish, ~10mils thick & 270gsm in weight. This is a very robust substrate. Though essentially the same substrate material as a photo-print, it is substantially thicker & heavier, which is a good thing. These prints, properly framed (and they should be framed) can be expected to "last" 75-100 years, or longer. These prints are individually printed by the artist & signed. They are an excellent value for the money.
[3] Premium Cotton Paper Pigmented Ink Giclée Print: This is by far the best quality print in terms of archival longevity and could easily last centuries, assuming of course they are handled well & properly framed (or archivally stored). The major reason is the material the "paper" is made of, i.e. it's not paper at all, but cotton fiber. It's often referred to as cotton rag and is totally lignin free, acid free (not ph buffered by adding alkaline, as many "papers" are), strong, durable and archival. Further, we intentionally choose cotton papers that contain no "optical brighteners". Optical brighteners are the same chemical compounds that are used in fabric softener to enhance the brightness of whites & colors. In and of themselves, they're fine and there's nothing wrong with them, except: they "wear out" over time, and there is nothing that can be done about it. Therefore, the only proper solution (our solution) is to choose a cotton paper that is manufactured to extra high standards, and is as white as possible without the need of the chemical optical brighteners. To further ensure the stability of these prints, we do a multi-step sealing/varnishing process once the print has been allowed to dry & "cure". Once dry, the print is sealed with an acrylic "isolation" coat, then sprayed with several coats of acrylic UV absorbing non-yellowing varnish. The varnishing process takes a few days to complete, but is very much worth it. These prints are numbered and sold as a limited edition (of 10), meaning that only 10 will ever be printed. As prints of the photograph sell, the price does increase, so always check the current price by adding the photograph to your shopping cart (or feel free to email, Kevin@KevinLogan.com). Lastly these prints come with a certificate of authenticity that has a laser-etched-numbered holographic seal on it, along with date, and your name, etc. On the print itself is affixed an identical laser-etched-numbered seal. This duplicate-seal is placed off to the corner of the print (would be out of sight when matted & framed), near the artists' signature (which would be visible after framing), but is placed in position prior to the varnishing process. It is therefore not removable, and is absolute proof (along with matching certificate) of the providence of the print.
[4] Signed Ready-To-Hang Stretched Canvas Pigmented Ink Giclée Print: These prints offer a distinct difference of choice, with what many consider a more "artistic" feel. Since there is no glass involved in the presentation, the "feel" of the canvas is apparent. The canvas itself is made from 100% cotton and is coated with a satin/medium gloss-finish white ink receiver. The canvas is also 100% acid free, offering a very archival substrate. Utilizing the same pigmented inks as our RC & Cotton prints, the light-fastness is quite long, over 100 years before any "measurable" fading. The only potentially troublesome issue with these prints is their location of display, e.g. near a water source would not be a good idea. The prints are sprayed, however, with a varnish, thus increasing their degree of protection. So with good common sense in choice of location, these prints offer a very pleasing presentation. The canvas prints are shipped as shown above. They can of course still be framed with any traditional molding, along the lines of an oil painting. These prints are signed prior to being sprayed with their protective varnish.
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