I take extreme care in preparing each print personally, using the best imaging technology available to the best of my abilities, that I improve year after year, with the sole purpose of producing work that will delight you, the owner. My materials and techniques are gold-standard in their class and my prints are an elegant accompaniment to any home, office, or boardroom.
There is a huge difference in viewing photographs on a computer display versus seeing fine art prints in person; only the prints show the light, depth, texture, and delicate nuances of my images and the materials on which they are printed. I encourage you to zoom in one of my images, explore the details and imagine it on your walls. "
The Limited Edition is designed to complete your walls: imagine a beautifully hand framed piece, with his time-less look, hanging on one of your best walls and the pride it will bring to you when you are showing your home to your guests.
Every image is printed in limited runs personally by Francesco to ensure the highest care and quality in producing the print: to protect your investment, the price is raised by 5% after each sale.
For your peace of mind, the Civil Code Section 1740-1741 of the State of California in regard to limited editions is carefully followed by accounting for every image sold. Each limited edition print is also registered on Hahnenmüle’s My Art Registry (http://www.myartregistry.com) to further guarantee your investment.
Francesco prints in-house using the latest Canon PRO-2000 24" Printer with LUCIA PRO ink set plus Chroma Optimizer.
Francesco uses museum quality Hahnemühle and Canson Premium papers, the very best fine art papers on the market; each paper is purposefully chosen by Francesco depending on the image to enhance its qualities.
Francesco will then matte the print using Museum Grade Rag mats, 100% cotton mat board used by museums and those seeking the highest level of protection.
Cotton gloves will also be included to handle your print, along with Francesco's personal suggestions for framing it, and a Certificate of Authenticity with serialized number hologram. When properly handled, your print is guaranteed to last a lifetime and more.
All Limited Edition prints are also hand-signed and numbered.
The print is delivered matted and ready to frame or can be optionally delivered already framed with a beautiful Museum Quality custom frame that Francesco will choose to match it: the anti-reflection UV glass will protect your print for a lifetime and more.
For any question, chat to with us by clicking on the icon at the bottom right of the page.
Any flawed or damaged prints will be exchanged without question. All returns must be in as-received condition and in the original or similarly durable and insured packaging. Please contact us for return details if you are unsatisfied for any reason.
Original photography by Francesco Emanuele Carucci Photography.
All images copyright © 2019 Francesco Emanuele Carucci Photography.
All rights reserved. No reproduction of any kind without prior written consent.
San Francisco, California, USA.
Historically I take the best images when I'm happy: I spent a lovely afternoon in the Golden Gate park, killing time wandering with my camera rather aimlessly around lakes, waterfalls and chinese pavilions, sometimes lost, still accompanied by beauty and grace in a cloudy cold day of June in San Francisco.
It made me happy.
I then moved to the Golden Gate bridge an hour before sunset, met by the fog on the Bay that I was hoping for. No golden light from the sun was cutting through the thick fog, only a small portion of the bridge was visible, while the rest was lost in the dark blue mist. There still were so many people leaving a warm and bright place, heading towards what they could not see at the end of the bridge, if there was an end, looking for something either better or entirely different, or simply crossing without knowing why. Shall we cross the bridge?
Very strong winds made a long exposure practically impossible: I planted the tripod as firmly as possible against a wooden pole to add stability. I manually focused on the closest portion of the bridge, set the aperture to f/5, in order to get the exposure time to a more manageable 1.0s to reduce the chances of camera shaking induced by the strong wind. I chose to shoot at 30mm to include the emptiness on the right in the frame.
This is an image of contrasts to reflect my contrasting feelings when I created it: the busy warm area on the bottom left of the frame, against the empty cold mist on the top right of the frame where the bridge is pointing to.
This image is a metaphor: the composition reinforces the metaphor.
There is a huge difference in viewing photographs on a computer display versus seeing fine art prints in person; only the prints show the light, depth, texture, and delicate nuances of my images and the materials on which they are printed."