In an increasingly politicized world, even artistic expression is not immune to geopolitical tensions. Trade wars, such as those currently escalating between the US and the European Union, not only affect major industries. They also leave visible traces in the art world, where material selection, origin, and quality are essential to both the artist and the customer.
Trade Barriers Destroy Quality, Selection, and Variety
We are currently experiencing a situation where certain supplies of European origin are not readily available in the US due to trade tariffs or supply constraints. As a photographer, I naturally try to find equivalent materials to ensure the quality of my work and the satisfaction of my customers. But this is only partially successful. It is not easy to replace centuries-old European paper traditions with quickly available US alternatives. While customers still receive high-quality works of art, they may not receive exactly what was originally envisioned – a compromise born not from artistic intent, but from political interference.
These material constraints are accompanied by financial ones. Trade barriers and import tariffs inevitably raise purchase prices. It’s a common misconception that these costs are absorbed by the seller – in truth, they cascade through the supply chain and ultimately land with the customer. I always strive to minimize this impact, absorbing minor fluctuations wherever possible. But I cannot – and should not – be expected to subsidize the consequences of misguided political decisions. In the end, it’s not just paper or price that suffers. What’s truly at stake is the diversity, accessibility, and integrity of the art itself.
Photo by Markus Winkler on Unsplash
A Fine Art Print Is More Than Just Paper
A fine art print is more than just a photograph on paper. Behind every print lies a multitude of artistic decisions: the selection of the motif, the editing, the color scheme, the format – and, last but not least, the paper. This last element in particular is often underestimated, although it plays a central role in the impact of a work of art.
The choice of paper influences how colors are rendered, how deep blacks appear, and how subtle tonal transitions are preserved. It affects whether a print feels soft and organic or sharp and vivid. High-quality fine art paper minimizes reflections and glare, ensuring that the viewer can appreciate the image without distraction. In addition, papers with archival properties protect the print from fading, yellowing, and deterioration over time – making them not just a medium, but a lasting investment in visual culture.
As a fine art photographer, I invest countless hours in testing, color comparisons, and print samples before deciding on a paper. This isn't just about feel and color fidelity, but also about archival durability, surface texture, and emotional impact. The paper becomes the vehicle for the vision.
Why Not All Papers Are Created Equal
Many people believe that paper is easily replaceable. But just as a painter can't simply pick up a random brush, a photographer can't arbitrarily change the paper they print their work on. My fine art paper of choice, the Hahnemühle Photo Rag 308, for example, is a traditional paper that has been produced by Hahnemühle in Germany for centuries. It is made of 100% cotton, is OBA-free, and was specially developed for fine art prints. Its velvety, matte texture has established itself over the years as my preferred support for my works.
Hahnemühle is a German company that looks back on an extraordinary history: Founded in 1584, the paper mill is one of the oldest artists' paper manufacturers still in operation in the world. This centuries-old expertise, coupled with state-of-the-art technology and an uncompromising commitment to quality, makes its papers unique. Each sheet carries a piece of European cultural history. Hahnemühle papers also enjoy a high reputation in American artistic circles. Many renowned photographers in the USA swear by the quality and expressiveness of these products. It's proof that artistic excellence transcends borders.
Hahnemühle Photo Rag 308 Fine Art Paper
International by Nature: A Global Work of Art
My fine art prints are international by nature. Many of them are photographed in European cities and landscapes, using a camera developed in Japan. I edit my images using US software, and I have my US-based customers’ prints produced by a trusted Californian lab – on fine art paper made in Germany. It’s a seamless collaboration across borders, shaped by the best tools, technologies, and traditions each country has to offer.
This international setup not only reduces CO₂ emissions and avoids long-distance shipping, but also strengthens local economies while preserving the artistic quality I stand for. The materials I choose – especially the paper – remain European by intention, not out of stubbornness, but because of their unmatched character and heritage.
Unfortunately, current trade policies are making it increasingly difficult to access such materials in the US. Artists are being pushed – not asked – to switch to domestic alternatives. While American papers like Moab or Red River are technically excellent, they lack the legacy and nuance of a paper with a 440-year manufacturing tradition. A fine art print is not just a product – it’s a dialogue between the image and its medium. And that dialogue is deeply personal.
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Summary
When art is restricted by trade barriers, it loses part of its soul. The choice of materials is not a minor matter, but a central element of artistic language. Instead of erecting borders, we should build bridges: between continents, between traditions, between artists and collectors.
Because a genuine fine art print is more than the sum of its parts. It is a cultural statement – the result of knowledge, tradition, and global cooperation. And that must not be thwarted by political agendas or protectionist measures. Art doesn’t need tariffs. It needs freedom.
