Fine art photographs: the printing process

These images are printed on an Epson SC P800 printer on Hahnemühle Baryta FB 350 g paper, a process that provides archival-quality prints.

Editions & folios for sale

The sequence is available for purchase in these formats:

1. Size 21.5 x 21.5 cm, single image edition limited to 24 copies: kr. 16.000 each copy (about $110).
2. Size 21.5 x 21.5 cm, box set folio edition of all 12 images limited to 12 copies: kr. 150.000 each edition (about $1,100).
3. Size 43 x 43 cm, single image edition limited to 16 copies: kr. 50.000 each copy (about $350).
4. The 43 x 43cm box set folio edition of all 12 images is limited to 8 copies: kr. 450.000 each edition (about $3,200).
5. The 129 x 129 cm exhibition folio of all 12 images is limited to 4 copies, and the price is kr. 2.700.000 each edition (about $19,000).

Every copy and edition is signed and delivered with a certificate of authenticity registered with Hahnemühle.

You can order single images sized 21.5 x 21.5 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

AI-generation procedure

The image generation involves using unusual prompts or descriptions, such as excerpts from theoretical texts like The Originality of the Avant-garde by Rosalynd E. Krauss. Each quote addresses a specific issue in contemporary art; the resulting images capture these issues. The images are generated programmatically using the first 150 digits of the number pi as seeds. They are then resized using ON1 Resize AI and adjusted in Capture One Pro, with the prompt added to the resulting image in Affinity design. The final digital negative is output using the PiezoDN technique. Finally, each image is printed on watercolour paper and sometimes toned to achieve the intended tonal scale.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. For this series the final process is. not. the same for all images. Some are left untoned and, therefore, keep their characteristic blue colour. Others are lightly bleached, either in a solution made from white Aleppo oak gall apples, producing iron grey blacks and reddish grey hues, or a solution from red pine bark, which tints the paper and gives the image a characteristic reddish-brown hue.

Fine art photographs: the printing process

These images are printed on an Epson SC P800 printer, modified for Piezography Pro carbon inks, on Hahnemühle Baryta FB 350 g paper, a process that provides archival-quality prints.

Captured near a roadside in Gothenburg, Sweden, these cyanotype photographs showcase a striking scene of urban nature full of character. A steep cliffside looms over the street, restrained by wire netting to prevent any potential rockfall. Below, natural flora and fauna push through the restraints, creating a captivating interplay between the rugged rock face and the resilient vegetation—the juxtaposition of the uneven cliff and the lush growth results in a visually dramatic and stunning composition.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then proceeded to bleach the image lightly before toning it in a solution made from white Aleppo oak gall apples, adding depth and character to the composition with darker iron grey and lighter reddish brown hues.

Camera technique

I captured these photos using a Fujifilm GFX 100s camera with an 80mm f/1.7 lens. The camera features a medium format sensor and exceptional optics, resulting in highly detailed and high-quality images.

Generated images

The images in the sequence vary on similar parameters set within Stable Diffusion. The prompt for generation is a quotation from the chapter ‘Le ritornello’ in Deleuze and Guattari’s ‘Mille plateaux’: „Sometimes, one leaves the territorial assemblage for other assemblages or for somewhere else entirely: interassemblage, components of passage, or even escape. “

Fine art photographs: the printing process

These images are printed on an Epson SC P800 printer, modified for Piezography Pro carbon inks, on Hahnemühle Baryta FB 350 g paper, a process that provides archival-quality prints.

Editions & folios for sale

The sequence is available for purchase in these formats:

1. Size 21.5 x 21.5 cm, single image edition limited to 24 copies: kr. 16.000 each copy (about $110).
2. Size 21.5 x 21.5 cm, box set folio edition of all 12 images limited to 12 copies: kr. 150.000 each edition (about $1,100).
3. Size 43 x 43 cm, single image edition limited to 16 copies: kr. 50.000 each copy (about $350).
4. The 43 x 43cm box set folio edition of all 12 images is limited to 8 copies: kr. 450.000 each edition (about $3,200).
5. The 129 x 129 cm exhibition folio of all 12 images is limited to 4 copies, and the price is kr. 2.700.000 each edition (about $19,000).

Every copy and edition is signed and delivered with a certificate of authenticity registered with Hahnemühle.

You can order single images sized 21.5 x 21.5 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

AI-generated process

Image generation involves using unusual prompts or descriptions, here a quote from Derrida’s text:

„We know that these exchanges only take place by way of the language and the text, in the infrastructural sense that we now give to that word. And what we call production is necessarily a text, the system of a writing and of a reading which we know is ordered around its own blind spot. We know this a priori, but only now and with a knowledge that is not a knowledge at all, thus illustrating the critical relationship between text and imagery.“

The images are generated programmatically using sequences of 16 digits of pi as seeds. They are then resized using ON1 Resize AI and adjusted in Capture One Pro, with the prompt added to the resulting image in Affinity design. The final digital negative is output using the PiezoDN technique. Finally, each image is printed on watercolour paper and sometimes toned to achieve the intended tonal scale.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. The final process for this series of generated cyanotype photographs is not the same for all images. Some are left untoned and, therefore, keep their characteristic blue colour. Others are lightly bleached, either in a solution made from white Aleppo oak gall apples, producing iron grey blacks and reddish grey hues, or a solution from red pine bark, which tints the paper and gives the image a characteristic reddish-brown hue.

Fine art photographs: the process

The images are printed on 350gsm Hahnemühle Fine Art Baryta paper using an Epson SureArt P800 printer. This technique means the prints have excellent archival properties.

Camera technique

I shot these images on a Fujifilm GFX 100s camera with a 45mm f/2.8 lens. This camera has a medium format sensor that, combined with exquisite optics, produces images of extreme detail and quality.

Editions & folios for sale

The sequence is available for purchase in these formats:

1. The 21.5 x 28 cm single image edition is limited to 24 copies, each costing Kr. 20.000 (about $145).
2. The 21.5 x 28 cm box set folio edition of all 20 images is limited to 12 copies, each costing Kr. 300.000 (about $2,150)..
3. The 43 x 56 cm single-image edition is limited to 16 copies, each costing Kr. 60.000 (about $435).
4. The 43 x 56 cm box set folio edition of all 20 images is limited to 8 copies, each costing Kr. 900.000 (about $6,500).
5. The 129 x 168 cm exhibition folio of all 20 images is limited to 4 copies, each costing Kr. 5.400.000 (about $39,000).

Every copy and edition is signed and delivered with a certificate of authenticity registered with Hahnemühle.

You can order single images sized 21.5 x 28 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

Each figure is made up of 16 stripes. Each stripe is drawn across the top surface in a thin color. The possible direction of each stripe is based on a circle that has been divided into 12 sectors, i.e. 15° between the directions. All aspects of the image, color, width of each stripe, and bearing, are determined by reference to the decimal places of the number pi in hexadecimal code. The paint is thinned, to be as thin as watercolors. In this way, it becomes transparent and the colors mix in that each surface is visible through the surfaces that are above.

Fine art photographs: the process

The images are printed on Hahnemühle FineArt Baryta paper using an Epson SureArt P800 printer. This technique means the prints have excellent archival properties.

Camera technique

I shot these images on a Fujifilm GFX 100s camera with an 80mm f/1.7 lens. This camera has a medium-format sensor that, combined with exquisite optics, produces images of extreme detail and quality.

Editions & folios for sale

The sequence is available for purchase in these formats:

1. The 21.5 x 28 cm single image edition is limited to 24 copies, each costing Kr. 20.000 (about $145).
2. The 21.5 x 28 cm box set folio edition of all 20 images is limited to 12 copies, each costing Kr. 300.000 (about $2,150)..
3. The 43 x 56 cm single-image edition is limited to 16 copies, each costing Kr. 60.000 (about $435).
4. The 43 x 56 cm box set folio edition of all 20 images is limited to 8 copies, each costing Kr. 900.000 (about $6,500).
5. The 129 x 168 cm exhibition folio of all 20 images is limited to 4 copies, each costing Kr. 5.400.000 (about $39,000).

Every copy and edition is signed and delivered with a certificate of authenticity registered with Hahnemühle.

You can order single images sized 21.5 x 28 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

Each figure is made up of 16 stripes. Each stripe is drawn across the top surface in a thin color. The possible direction of each stripe is based on a circle that has been divided into 12 sectors, i.e. 15° between the directions. All aspects of the image, color, width of each stripe, and bearing, are determined by reference to the decimal places of the number pi in hexadecimal code. The paint is thinned, to be as thin as watercolors. In this way, it becomes transparent and the colors mix in that each surface is visible through the surfaces that are above.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then lightly bleached the image before toning it in tannic acid, adding depth and character to the composition with darker iron grey and lighter reddish brown hues.

Editions & folios for sale

The artwork is offered for sale in the following formats:

1. 28 x 28 cm single image edition, limited to 16 copies: Priced at kr. 25,000 (roughly 180) each.
2. 36 x 37 cm single-image edition, limited to 8 copies: Priced at kr. 40,000 (roughly $280) each.
3. A 25 x 25 cm box set folio edition of all 8 images, limited to 8 copies: Priced at kr. 150,000 (roughly $1,100) each.
4. A 36 x 37 cm box set folio edition of all 8 images, limited to 4 copies: Priced at kr. 220,000 (roughly $1,600) each.

Each copy and edition is signed and has a certificate of authenticity.

Individual images sized 28 x 28 cm can be ordered directly by selecting „Purchase“ on the relevant page.

For other sizes and inquiries, please select „Inquire“ or email at hlynur@hlynur.art.

Each figure is made up of 16 stripes. Each stripe is drawn across the top surface in a thin color. The possible direction of each stripe is based on a circle that has been divided into 12 sectors, i.e. 15° between the directions. All aspects of the image, color, width of each stripe, and bearing, are determined by reference to the decimal places of the number pi in hexadecimal code. The paint is thinned, to be as thin as watercolors. In this way, it becomes transparent and the colors mix in that each surface is visible through the surfaces that are above.

Autumn Garden

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then lightly bleached the image before toning it in tannic acid, adding depth and character to the composition with darker iron grey and lighter reddish brown hues.

Each figure is made up of 16 stripes. Each stripe is drawn across the top surface in a thin color. The possible direction of each stripe is based on a circle that has been divided into 12 sectors, i.e. 15° between the directions. All aspects of the image, color, width of each stripe, and bearing, are determined by reference to the decimal places of the number pi in hexadecimal code. The paint is thinned, to be as thin as watercolors. In this way, it becomes transparent and the colors mix in that each surface is visible through the surfaces that are above.

These are produced and printed in archival quality on the best paper.
Leica IIIc, Summichron f/2, Cinestill 50 @ 1/60, f/8. Cinestill C-41. Gyclée print, Epson Surecolor P800, 310 gsm Hahnemühle Photo Rag Satin paper

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then lightly bleached the image before toning it in tannic acid, adding depth and character to the composition with darker iron grey and lighter reddish brown hues.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which dates back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then lightly bleached the image before toning it in a solution made from sumac leaf tannin extract, adding depth and character to the composition with warm grey dark shades and lighter yellow-brown hues.

Camera technique

I captured these photos using a 1974 edition Zenza Bronica 6×6 film camera, shooting on Bergger 400 film stock. I then photographed the negatives with a camera setup and retouched them in Camera One before printing them as full-size digital negatives.

Fine art photographs: the process

The images are meticulously printed on 350gsm Hahnemühle Fine Art Baryta paper using an advanced Epson SureArt P800 printer. This specific printing technique ensures that the prints possess outstanding archival properties, allowing them to maintain their quality and mesmerizing appearance for many years.

Camera technique

I used my Sony Alpha a6600 camera with a Tamron 11–19mm f/2.8 lens to capture these stunning images. I then meticulously enhanced the intricate details and tones of the magnificent historic building using Capture One Pro, a professional photo editing software known for its powerful tools and precise colour-grading capabilities.

Editions & folios for sale

The sequence is available for purchase in these formats:

1. The 21.5 x 28 cm single-image edition is limited to 24 copies, each costing Kr. 20.000 (about $145).
2. The 21.5 x 28 cm box set folio edition of all 20 images is limited to 12 copies, each costing Kr. 300.000 (about $2,150)..
3. The 43 x 56 cm single-image edition is limited to 16 copies, each costing Kr. 60.000 (about $435).
4. The 43 x 56 cm box set folio edition of all 20 images is limited to 8 copies, each costing Kr. 900.000 (about $6,500).
5. The 129 x 168 cm exhibition folio of all 20 images is limited to 4 copies, each costing Kr. 5.400.000 (about $39,000).

Every copy and edition is signed and delivered with a certificate of authenticity registered with Hahnemühle.

You can order single images sized 21.5 x 28 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then lightly bleached the image before toning it in tannic acid, adding depth and character to the composition with darker iron grey and lighter reddish brown hues.

Camera technique

I captured these photos using a 1974 edition Zenza Bronica 6×6 film camera, shooting on Bergger 400 film stock. I then photographed the negatives with a camera setup and retouched them in Camera One before printing them as full-size digital negatives.

Editions & folios for sale

The series is available for purchase in these formats:

1. The 31 x 31 cm single image edition is limited to 6 copies. Each copy costs ISK 30.000 (circa $220).
2. The 56 x 56 cm single-image edition is limited to 3 copies. Each copy costs ISK 120.000 (circa $900).

Every copy and edition is signed and delivered with a certificate of authenticity.

You can order single images sized 56 x 56 cm directly by selecting „Purchase“ on the relevant page.
Please select „Inquire“ or email me at hlynur@hlynur.art for other sizes and queries.

Shooting technique

I captured these photos using a SonyA6600 digital camera, post-producing them with Capture One before printing them as full-size digital negatives.

Cyanotype photographs: the process

These images are not mere photographs but a testament to the meticulous artistry of the cyanotype process, which traces its origins back to 1842. A solution of photosensitive iron salts is delicately painted upon watercolour paper. Once dry, a digital negative is carefully sandwiched with the paper and illuminated with ultraviolet light. The resulting blue image is a cyanotype photograph, a unique and captivating art form. I then proceeded to bleach the image lightly before toning it in a solution made from black walnut husk, toning the whites while giving the blues a distinct violet cast.