Limited Edition Fine Art Prints
Light and Ladders
Brooklyn has a way of revealing itself in pieces. Step onto the right block at the right hour, and the fire escapes stop being utility and start looking like architecture — iron handwriting drawn across brick and morning light.
I made Light & Ladders while walking through DUMBO, Brooklyn, chasing the kind of contrast New York only gives you for a few minutes at a time. The light was cutting sharply across the buildings, turning an ordinary fire escape into something cinematic — layered shadows, repeating lines, and the feeling of the city folding in on itself.
What drew me in wasn’t just the structure itself, but the tension between light and darkness. The image feels both timeless and unmistakably New York — quiet for a moment, but still carrying the weight and energy of the city around it.
This is a frame I’ve carried with me ever since I made it.
Light & Ladders is released as a strictly limited edition of five, printed by hand on Hahnemühle Photo Rag Baryta — the same museum-grade paper I’d choose for my own walls. Each print is individually signed, numbered, and packaged by hand by me personally. Once the edition sells out, no additional prints in this size and format will ever be produced.
— Edward Volpe
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
SKU SQ5879852
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
SKU SQ7619418
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
SKU SQ2341412
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
SKU SQ0253747
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
SKU SQ9915487
Edition of 5 strictly limited, never re-released
Signed & numbered by Edward Volpe
13 × 19 in. archival fine art print with a 1-inch white border around the print
Hahnemühle Photo Rag Baryta museum-grade, century-rated paper
Ink Canon LUCIA PRO pigment inks — archival, fade-resistant
Free U.S. shipping carefully packaged
Unframed ready for the frame of your choice (not included)
Why Hahnemühle Photo Rag Baryta
Paper is half the photograph. I've tested a lot of them, and I keep coming back to Hahnemühle Photo Rag Baryta — a 315gsm, 100% cotton fine art paper with a subtle baryta coating that gives blacks a real depth and lets highlights breathe without ever going glossy.
It holds detail the way a darkroom print does. Shadows stay open. Mid-tones have weight. There's a slight warmth to the white point that makes skin, brick, and sky feel like they were photographed, not printed.
The mill itself has been making paper in Germany since 1584, and you can feel that history in the sheet. Up close you can actually see the cotton — a fiber texture across the surface that catches the light and reminds you you're holding a piece of paper, not a poster. It's the kind of detail that doesn't read in a photo of the print, but the moment it's in your hands you feel the difference. That texture is what gives the image a real sense of presence on a wall, the same quality you notice in a museum print before you've even read the label.
It's acid-free, museum-grade, and rated to last over 100 years without fading when cared for properly. The kind of paper that earns its place on a wall.
On Printing
Every print I sell, I make myself. Not because it's easier, it isn't — but because the print is part of the work. Handing that step off would mean handing off the final say on how the image actually lands: the weight of the blacks, the warmth of the paper, the way light sits on the surface. I'd rather own that.
I print on a Canon imagePROGRAF PRO-300, a pigment-based archival printer using Canon's 10-color LUCIA PRO ink set. Pigment inks (as opposed to dye) sit on the surface of the paper and resist fading for generations when stored properly — these prints are built to outlast me. The wider gamut also means deeper blacks and smoother tonal transitions, which matters for the kind of high-contrast, detail-heavy work I make.
Each file is hand-prepared: edited, soft-proofed against the specific paper profile, and test-printed before any edition print is pulled. I work on heavyweight fine art papers — typically a cotton rag baryta from makers like Hahnemühle, Canson, or Red River, chosen image by image to match the mood of the photograph. For this edition I chose Hahnemühle Photo Rag Baryta.
Every print is inspected, signed, numbered, and dated by hand. If it isn't right, it doesn't leave the studio.