‘Nowt But A Fleein Thing’. Lake District, Cam Crag above Wastwater. The climber is Dave Birkett and it’s a moment of high drama because this photograph captures him making the very first ascent of this extremely difficult and sensational rock climb on the during May 2005. The name comes from a famous quote made by Auld Will Ritson who was the first landlord of what is now the Wasdale Head Hotel, which he founded by adapting his Row Foot Farm in 1865. The hotel became a mecca for walkers and climbers and the quote arose when an early pioneer climber informed Will Ritson that he had made a climb on Scafell Crag. In response Will said; “There’s nobbut ya way up’t Scafell Crags that’s be’t Broad Stand on’t Eshgill side of Mickledooer ridge and nowt but a fleein’ thing could git up’t crags on’t Wasdale Head Side. Nivver neahbody hed gitten up theer, and neahbody nivyer wad.” I’ll provide a translation in my blog. Dave, my nephew following the family tradition, is one of the best climbers in the world and I’ve photographed him on a number of hard first ascents but when I do I always have a worry about him falling off. What would I tell his mum!
Specifications and a brief background about the materials chosen in these prints are below:
Sheet size 15″ x 24″ (38.1cm x 60.9cm)
Image area 11.8″ x 17.7″ (30cm x 45cm)
Archival paper: Hahnemuehle 350gsm Museum Etching – a natural white, 100% cotton paper, which guarantees archival standards. With its premium matt coating, Museum Etching features a distinct textured surface, which meets the highest industry standards for density, colour gamut, colour graduation and image sharpness, while preserving the special touch and feel of genuine art paper. Hahnemuehle were founded in 1584 and are the oldest German papermakers manufacturing papers for traditional and digital artists. Your print is designed to archival standards and is acid free.
Archival inks: UltraChrome K3™ ink technology represents a turning point in the history of Giclée printing, producing archival prints with amazing colour fidelity, and scratch resistance, while providing stable colours from the moment prints exit the printer, lightfastness ratings of up to 108 years for colour and over 200 years for black and white under rigorous industry accepted display conditions. Protected with two coats of Fine Art Protective Spray increases the water-resistance of prints and protects images from fading caused by UV rays, and adds up to 100% increase in fade resistance. Also protects against airborne contamination, and ozone damage.
General Care: As with any valued fine art print, it is recommended that it be displayed in indirect lighting conditions and away from any contact with moisture. Using archival materials for mats, backing and spacers, museum quality framing and UV protected glass/plexiglass will add to the life of the print. The artwork should never directly touch the glass/plexiglass.
Giclée Prints: The paper of the print itself needs to be handled carefully to prevent absorption of oils and/or marks from fingertips. Be careful to avoid dents and creases, since these can be very difficult or even impossible to remove later.
Lighting: It is recommended that you DO NOT keep your Giclée prints in direct sunlight, even though your print comes with UV protective coatings. Less light means less fading from harmful ultraviolet rays.