An affordable fine art photograph is not a “cut-price” image. It is a work of art designed to remain accessible, without losing what gives fine art photography its value: a clear intention, a personal visual language, uncompromising professional standards, and an art print that fully belongs in a collection.
I am a Belgian fine art photographer and the creator of the Imaginary Planets universe. If I developed a collection of small-format works starting at €215, it is for a simple reason: today, in the online art market, a large share of purchases happens below €1,000, and very often even below €500. I want entry into my universe to be possible at that budget level - without compromising aesthetics or production quality.
An “affordable” fine art photograph: an honest definition
To begin with, “affordable” does not mean a “standard photo” printed in large quantities. It means a more compact format, an optimized production process, and an offer aligned with current practices in galleries and online art platforms.
Concretely, an affordable fine art photograph, in my work, is:
- a limited edition print (therefore rare),
- an original art print (therefore collectible),
- a Fine Art print (therefore durable),
- an art paper chosen for its stability and visual rendering,
- a production process supervised with a professional photo lab,
- and a work I can confidently present in an exhibition alongside my more ambitious pieces.
In short: you are not buying a simple “print.” You are buying a work of art—simply offered in a more accessible format.
Paul Marnef creator of Imaginary Planets
Limited editions: what turns an image into a true collectible
I want to emphasize this point, because it is essential.
A fine art photograph becomes genuinely collectible when it is offered as a limited edition. In other words, it is not endlessly reproducible. It exists in a defined quantity. It is numbered, signed, and it circulates as a rare object.
This is also what separates a work of art from many everyday uses: posters, decorative images, or mass-produced prints. By contrast, a limited edition print is made to endure. It is part of an artist’s practice. And it can naturally take its place within a collection.
So even if you start with a small format, you start with the right gesture: choosing a work that is rare, intentional, and carefully followed.
Small formats, the same aesthetic standards as large formats
Small format does not mean “less art.” Size does not create artistic value—composition does. What matters is the strength of the image, its visual balance, its atmosphere, and the precision of its rendering.
That is why I treat my small formats with the same aesthetic standards as my large formats. There is no “second category.” The Imaginary Planets form a coherent universe: a small-format piece must have the same impact, the same clarity, and the same presence as a work in large format photography.
What you acquire at €215 or above is therefore the same artistic signature. The format changes—not the rigor.
Moreover, small formats have a unique advantage: they create an intimate relationship with the image. They invite closer viewing. They integrate easily into a home or a workspace. They work beautifully in a square format, and they are ideal for building an evolving wall: a duo, a triptych, a sequence of images, a curated arrangement.
My image work: Photoshop, Lightroom, DxO, Topaz Labs…
Fine art photography is not reduced to the moment of capture. Of course, everything starts there: light, perspective, balance, timing. But the Imaginary Planets universe requires advanced image work.
I process my files with established professional tools: Lightroom, DxO, Topaz and Photoshop and, when relevant, tools such as Topaz Labs. The word “retouching” can feel reductive. I prefer to speak of image crafting.
Depending on each creation, this work includes:
- precise color grading and color management,
- control of contrast and micro-contrast,
- detail refinement, without exaggeration,
- careful black-and-white balance (especially for black and white prints),
- global tonal harmony, particularly for highly graphic images,
- and sometimes a more advanced construction specific to the Imaginary Planets.
The goal is simple: to achieve an image that feels right. An image that holds. An image that remains strong over time—and that performs perfectly in very high definition at printing stage.
Fine Art printing: paper, inks, definition, longevity
An affordable fine art photograph must remain technically flawless. Here, the question of Fine Art printing is decisive.
Photo paper or art paper?
We often say “photo paper,” and that is normal. But in Fine Art practice, I turn to high-end papers—above all papers designed for archival permanence.
I select papers such as:
- baryta papers (for depth and density),
- cotton rag papers (for texture),
- Rag metallic photo papers (for their powerful and metallic effect),
- Japanese Awagami bamboo papers (for their fine, delicate texture and their ecological approach),
- matte papers (for a softer, elegant presence),
- and glossy papers when the work calls for more brilliance and energy.
However, I want to be explicit: I do not choose satin or pearl papers for this collection. Those surfaces do not match my aesthetic intention.
Similarly, I do not offer canvas finishes or prints on toile/canvas. Why? Because I consider that those supports do not provide the definition, precision, and stability I expect for a work of fine art photography. My standard is fineness, sharpness, detailed readability, and a true “fine arts” presence.
Pigment inks, inkjet printing, ICC profiles
Fine Art printing relies on inkjet printing with pigment inks. These pigments, combined with a high-quality paper and a rigorous file workflow, ensure:
- high definition at print,
- controlled color rendering,
- deep blacks,
- long-term stability,
- and true longevity.
In addition, some works can be produced with carbon inks through Piezography processes.
The printing chain is supervised in a professional photo lab: calibration, ICC profiles, value control and validation. These are conservation standards close to archival practice, under normal display conditions.
Why I do not use consumer photo labs
I want to be transparent.
I do not produce my works through consumer services such as Cewe, Pixum, Smartphoto, or Kodak Express. These platforms can be useful for family needs—photo albums, photo books, calendars, magnets, and high-volume personal printing. But it is not my field.
For my artworks, I rely on professional labs - notably Z Lab, Mikemuka, and Colorfields. This choice is not a detail: it ensures manufacturing quality, consistency of rendering, precision of printing, and a professional-to-professional dialogue.
It is also a matter of artistic responsibility. When I sign a work, I also sign its material presence.
Finishes: paper, framing, rigid mounting, aluminium Dibond, acrylic
Even though this page focuses on small formats and accessible budgets, finishing remains decisive. I offer finishes consistent with Fine Art standards.
Depending on the work and the options, you may choose:
- a Fine Art print on paper, ready to frame,
- framing options (aluminium frame, wide mat, refined presentation),
- mounting on a rigid support when it serves the image,
- mounting / face-mounting solutions when relevant,
- and, for certain ranges and formats, finishes such as Chromaluxe (sublimation), Dibond / aluminium Dibond, or acrylic / plexiglass (sometimes sought for a “crystal” look).
I like to remind collectors of one principle: the support must serve the image - never the other way around.
Photo prints, posters, reproductions: do not confuse them
Online, vocabulary often blends everything: photo prints, posters, reproductions, “print a photo,” “make prints.” That is normal. But if you are looking for a work of art, you must distinguish between:
- a photo meant as a personal memory,
- and fine art photography meant to be collected.
A poster, even beautiful, is not necessarily an art print. A decorative reproduction is not necessarily an original print. And a print made for mass production does not follow the same logic as a limited edition.
In my case, the intention is clear: to offer fine art photo prints, in limited editions, with professional manufacturing and uncompromising aesthetic standards.
How to choose your first affordable artwork
Here is a simple method.
First, choose the register: black and white print or color.
Next, think about the space: living room, office, entryway. Small format is flexible.
Then, envision the display: a single piece, or a curated composition. Small formats are perfect in series.
Finally, consider framing: under glass, wide mat, discreet frame. Framing changes everything.
If you enjoy building a collection, you can start with one work and add a second later. The result becomes deeply personal.
Ordering on my website: simple and secure
My website is an online store. You can order directly online.
- you discover my artworks and “my photos” within the Imaginary Planets universe,
- you choose your format and options,
- you validate your order through a secure payment system,
- you receive a carefully protected artwork.
One important point: delivery is free within Belgium. I also ship to France and Luxembourg.
Conclusion: a true artwork, simply more accessible
So, what is an affordable fine art photograph?
It is a limited edition artwork, produced with professional standards, as a Fine Art print, on carefully chosen art paper, printed by a professional lab (Z Lab, Colorfields), and supported by the same aesthetic rigor as my large formats.
If you are looking for a first acquisition, a gift, or an entry into the Imaginary Planets universe without exceeding your budget, this collection is made for you. I invite you to explore all my creations on my website: you will find works that are accessible - yet above all works that hold, live, and remain.
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