Click on the headings below to learn how we make the prints, and compare different presentation options.
We sell genuine, premium quality photographic prints, produced using only the finest techniques and materials.
The prints begin life as a sheet of Fuji Crystal Archive DP II paper. This top-of-the-range photo paper is known for its vibrant colours and absolute clarity,
and is guaranteed to be colour-fast for at least 75 years.
The image is transferred onto the paper using a Durst Lambda laser exposure system, which ensures incredible edge-to-edge sharpness and no pixelation.
After exposure, the photo is developed using a traditional photochemical process. This combination of modern technology and old-fashioned development turns
each image into a unique gallery print, with a quality and luminosity that can only be found in authentic photography.
Buying a print only is a good option if you want to have complete control over your method of presentation. All prints come with a matt finish and include a
white border to facilitate framing. Simply take your print to a reputable framing company in your area and select a frame or mounting technique of your choice.
To protect the print, we recommend using PH-neutral, archival quality materials throughout the framing process.
Non-framed prints take around two weeks to deliver, and are shipped loosely rolled in a sturdy cardboard tube. Once you have received your print, remove it from
the tube and store it flat to prevent any long-term furling of the image.
These prints arrive finished in an archival-quality frame, ready to hang on the wall.
We begin by mounting the print within a brilliant white, white-core mat, with a surround of 3-4" depending on the size of the print.
The white core means the bevel edge will not discolour over time, while the PH-neutral construction ensures chemicals won't leak into the photo.
We offer two simple frame styles - either 20mm light oak, or 20mm black oak - both of which accentuate the print without detracting attention
from it. Each frame is hand-built to specification, passing through several quality assurance tests to ensure a flawless finish.
The process is completed with a sheet of acrylic glass, which has all the clarity of real glass but will not break during shipping. Acrylic glass can be
lightly dusted with a soft cloth, and gently cleaned with pure water. Never use chemical glass-cleaning products
or rub hard at the surface.
Please allow up to three weeks for delivery of your framed print.
The characteristic texture of canvas gives these photos a tactile, fibrous finish, imbuing them with an almost painterly quality. Often hung without frames,
canvas wraps look warm, simple and modern on the wall.
The production process begins with a 360gsm Berger canvas. The image is set using an Epson Ultra Chrome print system, and 8-colour,
K3 pigment inks. The pigments are encapsulated in resin, producing colours with remarkable richness that remain brilliant for decades.
The canvas also becomes water-resistant after printing, so small spots can be gently wiped off with warm water without damaging the photo.
Canvas prints come with a matt finish, and are wrapped on a solid wood stretcher frame 40mm deep. The frame is ultra stable, thanks to corners that are
triple-reinforced with metal braces. Depending on the image, the print comes with a grey or mirrored edge to the canvas.
Please allow up to three weeks for production and delivery of canvas prints.
To preserve the quality of your print, please avoid hanging it in direct sunlight or above a radiator.
All our images can be produced in custom sizes up to giant 48x96" mural-size, or printed on other materials including wallpaper, aluminium, acrylic and forex. Please contact us for further details.
We ship worldwide for free, using traceable and insured postal services. For more information, see Delivery & Returns.
Click on the headings below to learn more about our workshops.
Preparation for the workshop begins before you arrive, with a questionnaire designed to help Gareth understand your ability as a photographer.
You will also have the opportunity to highlight any issues you'd like to address during your time together, and to send him a selection of your previous
images for critique during the course. Most photography workshops then begin with an indoor welcome session, when you'll discuss the trip itinerary and the key
photographic points you will consider during the course. There will also be an opportunity to address any initial technical issues with camera operation before you head out.
The remainder of the photography workshop will be split between outdoor field trips and indoor instruction sessions. The exact location of
the field trips will be dictated by conditions on the day, and the itineraries have been designed to encompass a range of
interesting environments that provide photo opportunities in all weather conditions. In Ireland, likely locations include dramatic
coastlines, mountain landscapes, scenic heritage sites and natural woodlands. Optional night-time and sunrise and sunset trips - designed to
take maximum advantage of 'magic hour' light - will be included whenever conditions permit.
Indoor sessions generally take place in a communal room within your accommodation. There will be discussions of the theory behind
landscape photography, including composition, lighting considerations, and planning tips to help you optimise your results.
Hands-on instruction seminars include technical tutorials and image analysis. There will also be demonstrations of post-production
editing techniques, including the use of Photoshop, Adobe Camera Raw and Lightroom. The aim throughout is to pass on the skills
and knowledge to help you produce more striking and dramatic photos.
All our photography workshops are restricted to small groups. This allows all participants to receive lots of individual attention from Gareth,
and means it doesn't take long to get to know each other. Learning is more effective in a fun, relaxed environment, and we aim to
develop an overall mood of enjoyment within every workshop. We all learn by sharing experiences with others, and the friendly dynamic
means everybody can progress at their own pace within an atmosphere of mutual support.
TThe small group size means you can spend maximum time talking to Gareth and learning from his experience.
During almost two decades as a full-time, professional landscape photographer, Gareth has got himself into - and out of - a wide
range of photographic situations. Whether it's tips for stopping your batteries freezing at 4000m, websites to help you chase the
northern lights, or advice on publishing your photos for the first time, the odds are Gareth can pass on a few tricks of the trade
Bring all your camera equipment, including any lenses, tripods and filters. Remember cables for downloading images,
and if you use a laptop for processing, bring that too. Some off-road walking may be required, so we
recommend that you pack your equipment in a small rucksack, and bring good footwear and warm, waterproof clothing to protect
yourself in all weather conditions. Where meals are not included in the workshop, we make stops in cafés and restaurants
to purchase food and snacks along the way.
The exact content of each photography workshop is dictated by the needs of the participants, but general topics include:
Explore one of the wildest photo locations on Ireland's west coast.
A two-day workshop based along the remote coastline of Sligo and Mayo.
Guided trips and private instruction designed specially for you.
A 10-day photographic journey around Ireland's remote North West corner.
Fishing boat on Upper Lake, Killarney National Park, Co Kerry, Ireland.
Walker looking across Clogher Bay and the Dingle Peninsula, Co Kerry, Ireland.
Muckross Abbey, Killarney National Park, Co Kerry, Ireland.
Puffin returning to the burrow with sand eels, Skellig Michael, Co Kerry, Ireland.
The eastern Reeks from Carrauntoohil, MacGillycuddy's Reeks, County Kerry, Ireland.
Fox footprints in the snow, Brandon Mountain, Dingle Peninsula, County Kerry, Ireland.
Puck Goat statue, Killorglin, County Kerry, Ireland.
Farmhouse in the Glanmore Valley beneath Lackabane Mountain, Beara Peninsula, County Kerry, Ireland.
Looking towards Broaghnabinnia and the Macgillycuddy's Reeks from Stumpa Duloigh, County Kerry, Ireland.
Winter sunrise over Brandon Peak, Dingle Peninsula, County Kerry, Ireland.
Tooth Mountain, Glanmore Valley, Beara Peninsula, County Kerry, Ireland.
Walkers in Hag's Glen beneath Carrauntoohil, MacGillycuddy's Reeks, County Kerry, Ireland.
Sunrise over Lough Duff and Gearhameen, Black Valley, County Kerry, Ireland.
Hawthorn branch above Glencar, County Kerry, Ireland.
Upper Lake, Killarney National Park, County Kerry, Ireland.
Visitors looking over Coumeenoole Bay, Dingle Peninsula, Co Kerry, Ireland.
Winter walker looking over Lough Cruite from Brandon Mountain, Dingle Peninsula, County Kerry, Ireland.
Winter cloud along the ridges of Brandon Peak, Dingle Peninsula, County Kerry, Ireland.
Muckross House and gardens, Killarney National Park, County Kerry, Ireland.
Coast road around Slea Head, Dingle Peninsula, County Kerry, Ireland.
Ross Castle illuminated at dusk, Killarney, County Kerry, Ireland.
Winter sunrise from the slopes of Brandon Mountain, Dingle Peninsula, County Kerry, Ireland.
The MacGillycuddy's Reeks from the Caragh Valley, Co Kerry, Ireland.
Fishing nets drying in Dingle Harbour, Co Kerry, Ireland.
Walkers above Lough Gouragh on the ascent of Carrauntoohill, MacGillycuddy's Reeks, County Kerry, Ireland.
Ross Castle, Killarney National Park, County Kerry, Ireland.
Winter evening light on Carrauntoohil, MacGillycuddy's Reeks, County Kerry, Ireland.
Walkers arriving on Great Blasket Island, Co Kerry, Ireland.
6th century monastic settlement of Skellig Michael, Co Kerry, Ireland.
Slea Head, Dingle Peninsula, Co Kerry, Ireland.
Baurtregaum mountain reflected in Tralee Bay, Dingle Peninsula, County Kerry, Ireland.
View of the Macgillycuddy's Reeks from Stumpa Duloigh, County Kerry, Ireland.
Walker looking to MacGillycuddy's Reeks from Mullaghanattin, Iveragh Peninsula, Co Kerry, Ireland.
Thrift growing above Clogher Bay, Dingle Peninsula, Co Kerry, Ireland.
Winter view of the MacGillycuddy's Reeks from Cromane, County Kerry, Ireland.
Walker approaching Slea Head on the Dingle Way, Co Kerry, Ireland.
Winter MacGillycuddy's Reeks seen across Lough Caragh, County Kerry, Ireland.
Walker looking over Coomavoher to Knockmoyle, Iveragh Peninsula, Co Kerry, Ireland.
Winter walker beneath Brandon Peak, Dingle Peninsula, County Kerry, Ireland.
Fishermen landing a catch of lobsters, Portmagee harbour, Co Kerry, Ireland.
Day trippers on the boat to Skelling Michael, Skellig Islands, Co Kerry, Ireland.
Winter walker near the summit of Brandon Mountain, Dingle Peninsula, Co Kerry, Ireland.
View over Coumeenoole Bay, Dingle Peninsula, Co Kerry, Ireland.
View towards MacGillicuddys Reeks from Ballaghisheen Gap, Co Kerry, Ireland.
Walker climbing Tooth Mountain, Beara Peninsula, Co Kerry, Ireland.
Walker heading to Knockgantee from Knockmoyle, Iveragh Peninsula, Co Kerry, Ireland.
Walkers at the summit of Carrauntoohil, Ireland's highest mountain, MacGillycuddy's Reeks, County Kerry, Ireland.
Caher, Ireland's third highest mountain seen from Carrauntoohil, MacGillycuddy's Reeks, County Kerry, Ireland.
Winter panorama of the MacGillycuddy's Reeks, County Kerry, Ireland.