Michael Kenna personally prints all his photographs in the darkroom from negatives and mounts the gelatin silver print on a 41x51 cm white passepartout that is an integral part of the photography.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people. The long exposure turns the water into a smooth silver surface from which emerge the typical Venetian poles to which boats are tied.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people. In this magnificent old-time shot, Kenna captured the swinging of gondolas in the bay of Venice with a gondolier carrying his boat.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people. The long exposure imprints on the film the luminous stripes of boats navigating the canals of Venice at night, which with Kenna's mastery are transformed into magical beams of light that invite you to follow them into the mystery which is Venice.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people.

Michael Kenna personally prints all his photographs in the darkroom from negatives and mounts the gelatin silver print on a 41x51 cm white passepartout that is an integral part of the photography.
This print is listed on MK's price list at 3000$

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people.

Michael Kenna prints all his photography himself by hand in a darkroom from negative.
The approximately 20x20 cm print is mounted on a 51x41 cm white passepartout that becomes an integral part of the photography. Kenna realiza only a print run per photography of 45 copies for photographs published until 2016, from this date onward photographs have a print run of 25 copies.
Michael Kenna hand signs, numbers and titles all his photographs in pencil on the white passepartout.
Most of the photographs captured by Michael Kenna in Venice are taken at night or at the crack of dawn to avoid the presence of people. A shot of yesteryear with the tail of a Venetian gondola at its center .