"One masterpiece is worth a million minor pieces.
It's worth more, in fact there is no parallel." ELLIOTT
RARITY
450 works in five decades. Exquisitely perfected and ipso facto rare. Quality keeps the numbers low.
This is less than 1% of what many photographers and artists produce. Consistency of excellence however, is unsurpassed. And try finding great Art Photography in colour from the Seventies. Good luck with that.
ORIGINALS
Elliott creates a unique one-off or a tiny, unique world edition of ORIGINALS from each piece.
Each original is hand made by the artist and they usually vary a little or a lot in size, shade, colour, paper, process, etc.
The term 'original' is borrowed from painting and sculpture where less than 12 examples are called 'originals' (not multiples).
There are no proofs. No alternative editions. No 'open editions'.
Maximum is currently 6. Minimum is one. The average edition is about three. Historically,10 was the maximum.
Elliott pioneered unique one-offs and tiny numbers of originals, right from the beginning.
Experienced collectors seek out, but rarely expect to find, Colour Photography and Cyber Art printed by the Artist.
Elliott has created every single original himself. No assistants. No printers.

PROCESSES
Elliott printed his early, colour darkroom masterpieces with Cibachrome Deluxe. An expensive high end process.
The Cibas are all vintage and printed decades ago, an additional rarity factor.
Cibachrome is now obsolete, so highly collectable.

Very few photographers darkroom printed their own colour in the 20th Century, but Elliott did.
The Cyber Art is created with high end giclée printers, using the highest quality materials with archival pigment inks.
Elliott is a world class master printer.
FRAMES
Elliott's uses thick, luxurious archival frames made of aluminium. Way above the normal photography standard.
This is dimensionally stable and chemically inert. An obscure
acid free mounting material is used (also used by the British Museum). Rag museum board mounting is standard. Aluminum or DiBond may be used for larger pieces. Everything is bespoke. If it requires a 36.125 inch frame that is what it gets. Elliott never crops. His compositions are perfect.
Secondary backboard in acid-free foam board gives additional protection. This is separate from the print substrate.