ARTIST DOCUMENTATION

Artist Biography

Paul Robinson, a British conceptual photographer born in Huddersfield, West Yorkshire, and currently based in Augsburg, Germany, merges analog traditions with cutting-edge digital innovations to craft intricate and multidimensional visual narratives. After transitioning from an early career in commercial and fashion photography, Robinson has dedicated his practice to exploring the boundaries of the photographic medium.

A significant aspect of his work involves the artistic exploration of the photographic negative. Rather than replacing traditional positive imagery, he incorporates the negative as a complementary medium, treating it as a unique avenue for innovation and reinterpretation. By doing so, he uncovers an alternative visual paradigm—a "negative universe" defined by unique chromatic and tonal spectra inaccessible through conventional means. This dual approach enriches his visual narratives with multidimensional depth.

Robinson’s practice extends further into the realm of 3D modeling and computational manipulation. Using advanced tools such as Autodesk 3D modeling software and Adobe platforms, he reconstructs dimensions within his photographs, transforming the captured image into a dynamic construct of space and time. This technical manipulation, which can guide the viewer's focus across the composition, elevates the narrative potential of each image, inviting viewers into layered, immersive experiences.

Ultimately, Robinson pushes the boundaries of photographic convention. By blending the tactile qualities of analog techniques with the precision and versatility of digital technology, he redefines the possibilities of visual storytelling. His work transcends static documentation, becoming a medium of reinterpretation that provokes introspection and discovery, positioning him as a key voice in the contemporary dialogue between photography and the digital arts.

Artist Statement

My photography is a cinematic exploration of humanity, articulated through the grand narrative of the collective and the quiet intimacy of the individual. I am drawn to the un-staged theater of the public sphere—the sprawling energy of a Vietnamese fish market, the layered chaos of a crowded street—where countless individual stories intersect. Using a panoramic method that captures a full 360-degree view, I act as a silent observer, allowing the authentic life of a place to unfold around the lens. The resulting images are not mere snapshots, but expansive, detailed tableaus that compress time and space, inviting the viewer to witness a world that is both immense in scale and rich in specific, fleeting moments.

This observational practice is complemented by a deep curiosity for the photographic object itself. In my experimental work, I return to the tactile and analog world of the film negative, fascinated by its power to invert and transform reality. I treat the negative not as an intermediate step, but as an art form in its own right, exploring how its unique color palette and tonal range can reveal an alternate, dreamlike narrative within a familiar scene. This approach extends to my still life series; whether studying the delicate decay of dried flowers, the refracted light of perfume bottles, or through frosted glass, I use post-production to infuse a pop-art sensibility, transforming everyday objects into vibrant, almost surreal visual statements that challenge the viewer’s perception.

My artistic journey continues into the digital frontier, where I explore the fusion of photography with 3D illustration and AI-driven imagery. This is not a departure from photography, but an expansion of its language. In the "G7" series, this takes the form of a political allegory that echoes the Theater of the Absurd. The current dominant global political entities are reimagined as powerful, monolithic rhinoceroses, a direct nod to Ionesco's play. Each destabilizing and destructive creature is sculpted and illuminated within the digital environment, a process that allows me to blend the principles of photographic lighting with the boundless possibilities of 3D artistry. In other works, I engage in a direct dialogue with art history, reinterpreting iconic compositions to challenge their original context. For example, in a diptych of a young Black boy overlooking a landscape of raw earth, I reference the composition of Caspar David Friedrich’s "Wanderer above the Sea of Fog." But here, the Romantic ideal of wishful contemplation is replaced by the stark reality of physical toil. The muscular tension in the subject’s back and the unforgiving terrain ground the image in the brutal immediacy of day-to-day life, questioning who has the privilege of serene observation versus who must face the task at hand.

Ultimately, these diverse facets—from the painterly refinement of my panoramic scenes to the playful reinvention in my experimental and 3D work—are all part of a single creative continuum. They represent a constant dialogue between the tangible world of human experience and the evolving landscape of digital technology. By bridging the authenticity of the captured moment with the imaginative potential of the constructed one, I invite viewers into a world that is at once deeply real and dynamically reimagined.

Artistic Method

The artistic Method at the core of my work lies a nuanced interplay between the tactile authenticity of analog photography and the innovative potential of digital tools. My practice began with large-format film — 10x8 and 5x4 — alongside Polaroid in traditional studio settings, later expanding into fashion photography using medium format and 35mm cameras. This early experience in both precision-driven still life and expressive fashion portraiture—on set and on location—continues to inform my current approach.

My method is inherently adaptive. In the controlled environment of the studio, I pursue a pin-sharp clarity reminiscent of large-format precision, carefully sculpting light and detail. On location, particularly in the public sphere, my practice shifts toward a more open-ended, observational mode. I often use panoramic techniques to capture a full 360-degree view, compressing time and motion into a single, layered image. This creates a sense of "stagnated movement," inviting the viewer to experience a continuum of moments held within one frame.

Across all contexts, my work is about bridging photographic worlds—merging the tactile, grain-rich textures of analog processes with the dynamic versatility of digital tools. I frequently emulate the chromatic depth and lens behavior of film within my digital workflow, using post-production not to correct, but to interpret and refine visual intent.

In recent years, my practice has expanded to include 3D modeling and AI-driven image-making. Projects such as the G7 series exemplify this evolution, reimagining global political powers as sculpted 3D figures within digitally lit environments. Here, photographic lighting principles intersect with symbolic digital construction, forming a new narrative language grounded in photographic logic.

Ultimately, my artistic method is defined by a fluid approach—selecting the tools, processes, and visual strategies that best serve the story I want to tell. Whether rendering razor-sharp clarity in a studio portrait or crafting a more impressionistic, layered visual narrative on location, my work seeks to honor the authenticity of the analog era while embracing the expressive potential of digital and computational forms. Each image exists as both a document and an interpretation—timeless in intent, contemporary in execution.

Technical Practice

Technical Documentation: Analog Foundation, Digital Aesthetic, a technical practice founded on the analog medium of Colour, Black and white, film or Polaroid, the Negative, and the Darkroom Print, which serve as the conceptual and aesthetic basis for my entire workflow. While the digital image is recognized as its own distinct aesthetic, it is profoundly informed by the principles of precision, tonal control, and deliberate process learned through the analog medium. This results in a hybrid workflow that strategically combines the tactile authenticity of classic analog equipment with the resolution and versatility of modern digital capture and computational tools.

Camera Systems and Rationale:
Primary Digital Capture: The core of my contemporary work relies on a Hasselblad digital system. This choice is dictated by its exceptional sensor quality, which provides the detailed, high-resolution captures necessary for large-scale archival printing and serves as the primary instrument for controlled art production, studio, and demanding location work.

Analog Heritage: I maintain the use of the Mamiya RZ67 (medium format) and the Nikon FM2 (35mm) for specific art projects. These cameras are employed when the unique tonal range, grain structure, and tactile process of film are integral to the conceptual intent of the work, honoring the medium's historical depth.

Spontaneous Capture: The integration of high-quality smart phone photography is a deliberate choice to capture spontaneous moments and authentic slices of life. These images are seamlessly integrated into the broader body of work, providing a layer of immediacy and contemporary relevance.

Post-Production and Computational Tools:
Photographic Refinement: The primary post-production suite consists of Adobe products. This stage is treated as a digital darkroom, where the focus is on fine-tuning detail, color grading, and achieving the desired visual intent. All decisions are informed by the foundational principles of analog color film and negative manipulation, translating the aesthetic qualities of the darkroom print into the digital medium.

3D and Computational Art: For projects involving digital construction, such as the G7 series, I utilize advanced software including Autodesk products and occasionally applications such as Blender. This allows for the creation and integration of complex digital elements that are rendered and lit according to established photographic principles, ensuring a cohesive visual language across the hybrid output.

Archival and Editioning Standards:
All final output adheres to rigorous archival protocols. This includes precise color management from capture to print, the use of museum-grade papers, and certified pigment inks to ensure the longevity and provenance of each physical edition.

Selected Works & Series Overview

Image representing the portraits and self-portrait practice
Portraits & Self-Portraits.
Approx. 33 works

I. Portraits & Self-Portraits

This practice area gathers approximately thirty-three portraits and self-portraits that trace a line from studio-based fashion and character studies through to experimental negative portraits and more introspective self-representations. The work focuses on the relationship between the human figure, constructed light and the camera’s point of view, often negotiating a tension between staged presence and unguarded observation.

Historical and contemporary model releases are being reviewed and consolidated so that future books, exhibitions and institutional presentations can be curated in line with legal and ethical best practice. The portraits presented publicly represent a carefully selected subset of the wider body, aligned with this ongoing rights and archival work.

Image representing panoramic documentary market scenes
Otherlands: Panoramic Documentary.
Open Market, Antananarivo City, Madagascar, 2023
Approx. 121 works
View Series

II. Otherlands: Territories & Threshold Spaces

Under the working heading Otherlands, this area comprises roughly one hundred and twenty-one images that investigate markets, streets, peripheries and border spaces as sites of lived experience. Many works employ a panoramic method that compresses a 360-degree view of the public sphere into a single, expansive tableau where numerous individual stories intersect.

The technique creates a sense of “stagnated movement”, allowing the viewer to experience a continuum of moments held within one frame. Over time, the Otherlands material will be structured into distinct series by geography, atmosphere and motif, and integrated into the catalogue raisonné and archival projects elsewhere on this page.

Image representing still life and experimental photographic work
Still Life & Experimental Photography.
Approx. 57 works

III. Still Life & Experimental Photography

This group of approximately fifty-seven works includes still-life studies, perfume-bottle arrangements, glass experiments and darkroom or digital tests that explore material, surface and light. The photograph functions here as a controlled laboratory: objects are isolated, lit and recomposed to emphasise reflection, transparency, colour shifts and the sculptural qualities of everyday forms.

Many of these images operate as technical and conceptual research for larger projects, bridging commercial still-life discipline and personal experimentation. They are an important reference point for the ongoing interest in the photographic negative as an autonomous object and in the translation of analog aesthetics into digital printing and post-production.

3D and AI-driven allegorical illustration from the G7 series
3D & AI Illustration & Allegory.
The G7, Digital Construction, 2023
Approx. 14 works
View Series

IV. The Computational Narrative: 3D & AI-Driven Allegory

The 3D and AI illustration practice currently comprises around fourteen works, including the politically charged G7 series and related digital allegories. These images are built in 3D software and AI-assisted workflows, but lit, framed and graded with the logic of studio photography, creating hybrid constructions that sit between photograph, sculpture and illustration.

Rather than treating AI and 3D tools as ends in themselves, this work uses them to stage narratives about power, history and representation. The resulting images are integrated into the same archival, editioning and rights framework as the analog and digital photographic works, and are recorded accordingly in the artist’s internal registry and catalogue raisonné in preparation.

Bibliography & Publications

A formal list of all publications where the artist's work has been featured, cited, or reviewed. This includes books, exhibition catalogues, academic journals, and major online or print articles. Entries should be formatted in a consistent citation style.

Exhibitions & Commissions

A chronological list of solo and group exhibitions, as well as significant commissioned projects. Each entry should include the title of the exhibition, the venue (gallery, museum, etc.), its location, and the year.

Collections & Provenance

A list of public, corporate, and significant private collections that hold the artist's work. This section helps establish the work's history and its recognition by institutions and notable collectors.

Awards & Residencies

A list of prestigious awards, grants, fellowships, and artist residencies that the artist has received. This demonstrates critical recognition and support from the art community.

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LEGAL FRAMEWORK

Copyright & Moral Rights Protection for Photographic Works

All photographic works authored by Paul Robinson are protected by international copyright law from the moment of creation. This includes analog negatives, digital files, panoramic compositions, mixed-media works, and all images published on this website or in any related publication.

Jurisdictional Coverage

  • Germany (Urheberrechtsgesetz – UrhG)
  • European Union copyright directives
  • United Kingdom Copyright, Designs and Patents Act 1988
  • United States copyright law (Title 17 U.S. Code)
  • International treaties including the Berne Convention and WIPO standards

Exclusive Rights

  • Reproduction in any format
  • Public display, distribution, and publication
  • Digital and commercial exploitation
  • Creation of derivative works
  • Licensing for print and digital use

Moral Rights

  • Right of attribution as the sole creator
  • Right to object to distortion or misrepresentation
  • Right to protect the integrity and context of each work

Germany-Specific Terms

  • Lichtbildwerke: Highly creative works, protected for life + 70 years
  • Lichtbilder: Standard photographs, protected for 50 years
  • Personal rights of depicted individuals require consent for publication
  • Panoramafreiheit: Photography of public architecture permitted, with limits regarding copyrighted public art

EU & UK Notes

  • Works show creative choices (composition, lighting, timing)
  • Resale royalties may apply where mandated (EU/UK droit de suite)

United States

  • Standard term: life + 70 years (post-1978 works)
  • Works made for hire: 95 years from publication or 120 years from creation
  • Registration required before federal infringement suit for statutory damages
  • 2025 updates strengthen privacy-sensitive image protections

US Copyright Registration
Registration of select works is in progress. Registration numbers will be published here when issued.

Unauthorized Use
Any downloading, copying, commercial use, AI training, NFT minting, or digital redistribution without written permission is prohibited and subject to removal demands, damages, injunctions, and cost recovery.

Licensing Requests Paul Robinson · info@das-unit.com

Licensing & Usage Terms

Any use of Paul Robinson’s photographic works requires a written license unless a statutory exception applies. All rights not expressly granted remain reserved.

License Categories

  • Personal Use: Private, non-commercial viewing only. No reproduction or redistribution.
  • Educational / Scholarly: Limited fair dealing/fair use may apply with full credit, no alteration, and non-commercial intent.
  • Editorial: Licensed publication in news/media/reviews. Mandatory attribution.
  • Commercial: Any monetized use (ads, brand, product, posters, NFT minting, AI training) requires a paid license.

License Structure

  • Non-exclusive unless explicitly stated
  • Scope (media/formats), territory, and term must be defined
  • Resolution caps and usage restrictions enforced contractually

Attribution
“© Paul Robinson – Das-Unit” in all approved reproductions unless contractually waived.

Governing Law (Licensing)
United Kingdom law for commercial licensing contracts.

Trade, Gallery & Professional Client Terms

In addition to standard collector rights, the artist works with galleries, interior designers, art consultants and institutional collections on a professional basis. Confidential trade terms – including professional pricing, consignment frameworks, project-based edition planning and documentation for procurement or resale – are available on request.

These terms sit alongside the contracts, certificates of authenticity and edition registry described on this page and are agreed individually in writing per project. Professional partners are invited to contact info@das-unit.com to receive the current trade information pack.

Droit de Suite / DACS – Artist’s Resale Right

In certain jurisdictions, including the United Kingdom and the European Union, the artist may be entitled to a statutory resale royalty (also known as Droit de Suite or Artist’s Resale Right) when an original artwork is resold on the professional art market.

  • Where such laws apply, any eligible resale of the artist’s work through an auction house, gallery, dealer or other art-market professional may trigger a separate royalty payment to the artist (or their heirs).
  • This royalty is in addition to the agreed sale price and is not deemed waived or included in the sale price unless expressly permitted by law.
  • In the UK, these royalties are typically administered and collected by DACS (Design and Artists Copyright Society) or a comparable collecting society. In other countries, equivalent organisations or statutory mechanisms may apply.
  • Resale royalties apply wherever and whenever they are mandated by law, including but not limited to the EU and UK.
  • Any party acting as seller, buyer, intermediary or agent agrees to cooperate with the correct calculation, reporting and payment of any such resale royalties where legally required.
  • Nothing in any agreement or on this website is intended to exclude, limit or waive statutory resale rights that cannot lawfully be waived under applicable national or international law.

Prohibitions

  • No duplication or scanning of prints.
  • No photographing, scanning or otherwise digitising physical prints, books or exhibition works beyond what is explicitly licensed.
  • No copying or reproducing prints for any purpose (including personal archiving, resale or display) beyond what is explicitly licensed.
  • No printing or re-printing of any digital files or online images without prior written permission.
  • No derivative works: no alteration, editing, cropping, colour manipulation or compositing of the artist’s images into new works.
  • No use of the artist’s images as a “base”, “texture”, “overlay” or background for other artworks, designs, products or commercial materials unless expressly licensed.
  • No use of the artist’s work to train, refine or validate AI or machine-learning models.

Governing Law (Sales / Representation)

Unless expressly agreed otherwise in writing, all contracts and transactions relating to the sale of artworks, prints, digital files, licences, commissions and any form of artistic representation or agency are, as far as legally permissible, governed by the laws of England and Wales.

Jurisdiction (Sales and Representation)

Subject to mandatory provisions of applicable law, any dispute, controversy or claim arising out of or in connection with a Sales / Representation Agreement shall be subject to the non-exclusive jurisdiction of the courts of England and Wales. This choice of forum does not affect any right to bring proceedings before the courts of the consumer’s habitual residence where such a right is granted by mandatory law.

Commissioning & Custom Works

Commissioned projects – including bespoke portraits, editorial assignments, exhibition installations and interior or architectural projects – are undertaken on the basis of a written brief and a signed agreement. The contract defines the scope of work, number of concepts or shooting days, approval stages, delivery formats, schedule and fees.

Usage rights for commissioned work are licensed, not automatically transferred. Unless otherwise agreed in writing, the artist retains copyright and moral rights; the client receives a clearly defined licence for agreed media, territory and term. Any additional uses (for example, extended advertising, international rollout, product packaging or AI training) require a separate licence and fee.

Where a project is cancelled or substantially changed after production has begun, a cancellation or “kill” fee may apply to cover time, production costs and third-party expenses already incurred. Details are set out in the individual commissioning agreement for each project.

Rights of Depicted Persons & Sensitive Subjects

Many works within this practice portray identifiable individuals and communities in public and semi-public spaces. The handling of image rights, privacy and dignity for these subjects is treated as a core ethical responsibility and is guided by applicable privacy, personality and data-protection laws in the relevant jurisdiction.

Where appropriate and practicable, model releases or written consents are obtained for portraits, commissioned sessions and works intended for extended commercial or editorial use. Minors and vulnerable persons are subject to heightened protection; any use is assessed with particular care and, where necessary, restricted to non-public or context-specific presentations (for example, institutional research, curated exhibition contexts or archival study).

Institutions, publishers and partners are invited to contact the artist in advance if they wish to reproduce works that involve sensitive contexts, minors or potentially identifying information, so that ethical and legal considerations can be reviewed jointly for the intended use.

Client, Collector & Partner Data Protection

In the course of licensing, sales, commissions and archival work, limited personal data (such as contact details, billing information and correspondence) are collected from clients, collectors, models and institutional partners. This information is used solely for contract performance, provenance records, legitimate business interests and legal compliance, in line with applicable data-protection law (including the GDPR where it applies).

Personal data are stored securely, retained only as long as necessary for contractual, archival and legal purposes, and are not sold or passed to unrelated third-party marketing providers. Data may be shared with trusted service providers (for example, accountants, shipping partners or legal advisers) strictly on a need-to-know basis and subject to appropriate confidentiality and data-processing safeguards.

Individuals may have rights of access, rectification or objection under the data-protection laws of their country. A more detailed privacy notice for this website and for contractual partners is available on request and, where applicable, on the dedicated Privacy Policy page.

Website Terms & Conditions

Access to this site is provided for lawful, personal and non-commercial viewing only. All content is protected by copyright and international intellectual property law.

Prohibited

  • Unauthorized download, copying, or framing.

    Downloading, saving, reproducing, printing, distributing, or publicly displaying images or other content beyond what is technically necessary for normal viewing in a browser.

    Removing or altering watermarks, copyright notices, or embedded metadata.

    Embedding or “framing” this website or its content within another website or platform in a way that suggests affiliation, endorsement, or ownership.

  • Scraping, archival mirroring, or AI dataset creation.

    Automated scraping, crawling, or data mining of images, text, or other content.

    Creating offline archives or mirrors of the website or substantial parts of it.

    Using any content from this site to train, refine, or populate datasets for AI models, machine learning, image generation, recognition systems, or similar technologies, whether commercial or non-commercial.

  • Security circumvention or reverse engineering.

    Attempting to access non-public areas of the site, servers, or systems.

    Circumventing, testing, probing, or weakening any security or access controls.

    Reverse engineering, decompiling, or otherwise interfering with the technical infrastructure, code, or delivery mechanisms of the website.

Liability

Copyright and Use of Content. Copyright law is part of intellectual property law, alongside patent law and design law. Unlike these so-called “industrial property rights”, it protects creative works, particularly in the fields of culture and art. Copyright protection covers, for example, creatively designed texts, music, images, films and artistic performances, as well as software programs and photographs.

Copyright fulfils two central functions. First, it governs the economic exploitation of creative content, in particular through licences. In addition, statutory permissions for certain types of use exist, for example for teaching at schools, for research and teaching at universities, for quotation purposes, or for private copying. Second, copyright provides personality-rights protections that regulate the relationship between the author and their work, such as the prohibition on distortion of the work and the right to decide on its publication.

Unless expressly agreed otherwise in writing, all content on this website (including, but not limited to, texts, images, graphics, videos and other media) is protected by copyright and may not be reproduced, distributed, publicly communicated, edited or otherwise used beyond the limits of statutory permissions without prior written consent of the respective rights holder. Licensed uses are governed exclusively by the terms of the relevant licence agreement; any use beyond this requires a separate written licence.

Disclaimer – Liability for External Links and Misuse by Third Parties.
This website contains links to external third-party websites. We have no influence over the content of these external sites and therefore accept no liability for such content. The respective provider or operator of the linked pages is solely responsible. All links were checked for possible legal violations at the time of linking; no unlawful content was identifiable then. Continuous monitoring of linked pages without specific indications of a violation is not reasonable. If we become aware of illegal or otherwise problematic content, we will remove the corresponding links without undue delay.

We also accept no liability for any misuse of this website, its functions or its content by third parties. This includes, in particular, the unlawful use, copying or distribution of our content, the misuse of published contact data for unsolicited communication (e.g. spam or phishing), the manipulation or hacking of the website, and the misuse of interactive functions (such as contact forms or comment fields) for illegal, defamatory or offensive content. In such cases, responsibility lies solely with the third party acting unlawfully. We are liable only for our own content and conduct in accordance with mandatory statutory provisions and from the moment we gain knowledge of a specific infringement, after which we will take appropriate measures (such as removal or blocking).

Governing Law (Website)

Unless expressly stated otherwise, the use of this website, including all legal notices, terms of use, copyright information and disclaimers published on it, is subject to the laws of the Federal Republic of Germany.

This includes in particular: the interpretation and validity of the website’s legal texts (e.g. Terms & Conditions, copyright notices, disclaimers, Droit de Suite / resale royalty information), rights and obligations arising from the use of this website, and any non-contractual claims connected with the viewing or use of this website, as far as legally permissible.

Nothing in this Governing Law clause is intended to, or may, override mandatory consumer protection rules in the country where a user has their habitual residence. Where such mandatory provisions grant a higher level of protection than German law, those provisions remain applicable to the extent required by law.

Jurisdiction (Website Use).
Subject to such mandatory rules, any dispute arising out of or in connection with the use of this website, its content or its legal notices shall be subject to the non-exclusive jurisdiction of the competent courts in Germany (seat of the website operator). For business users, and to the extent permitted by law, the courts at the seat of the website operator in Germany shall have exclusive jurisdiction. For consumers, this clause does not limit any right to bring proceedings before the courts of their country of residence where this is required or expressly permitted by mandatory law.

Digital Preservation & Archival Policy

This practice maintains a dedicated digital and physical archive to safeguard the long-term accessibility, authenticity and integrity of the artworks and their associated documentation. The goal is to ensure that master materials remain usable and verifiable for future exhibitions, publications, scholarly research and institutional collections.

Master Files, Negative Scans & Source Materials

Master files (high-resolution digital originals), negative scans (from analogue film) and associated metadata are treated as primary archival assets. These materials are preserved in their highest available quality, without destructive compression or unnecessary alteration. Any working copies prepared for web, print or editorial use are derived from these master assets and are clearly separated from them in the archive.

Archival Formats, Fixity Checks & Versioning

Master files are stored in stable, widely recognised archival formats (for example, TIFF or equivalent preservation-grade formats for images, and open or well-documented standards for associated documents). Fixity checks (e.g. checksum verification) are performed at regular intervals to confirm that files have not been corrupted, altered or degraded over time. Versioning practices are applied: when significant adjustments or conservation edits are made, new versions are created rather than overwriting existing masters, preserving a clear history of changes and provenance.

Redundant, Encrypted Backups in Separate Regions

The archive is stored using redundant backup strategies, with at least two independent copies of core materials maintained in separate physical or geographic locations to mitigate the risk of loss through hardware failure, accident or disaster. All backups containing original or sensitive data are encrypted and protected by appropriate access controls, in line with professional standards of digital security and privacy. Backup media and systems are reviewed and renewed periodically to avoid dependence on obsolete hardware or unsupported storage technologies.

Metadata Standards & Discoverability

Descriptive, technical and administrative metadata are recorded using recognised standards such as IPTC and Dublin Core, where applicable. Metadata includes, as far as practicable: artwork titles, dates, locations, techniques, materials, editioning information, rights information, exhibition history and relevant contextual notes. The aim is to support accurate cataloguing, search and discovery across collections, and to provide curators, researchers and institutions with reliable contextual information about each work.

Institutional Custodians & Conservation Standards

Where works or digital masters are entrusted to museums, galleries, archives, libraries or other institutional custodians, those institutions are expected to meet professional conservation and collection management standards appropriate to their field. This includes, for physical works: appropriate environmental controls, handling protocols and storage conditions; and for digital materials: secure, redundant storage, documented preservation policies and responsible migration to newer formats or media when required.

Institutional custodians are expected to maintain the integrity of both the work and its metadata, and to consult the artist or rights holder (or their representative) regarding any significant conservation interventions or format migrations, where practicable. This policy is intended to ensure that the body of work, together with its documentary record, remains authentic, traceable and accessible over time, for the benefit of collectors, institutions and future audiences.

Third-Party Works, Site-Specific Sculptures & Architecture

This website occasionally shows photographs that include works created by other artists, architects or estates (for example, site-specific sculptures or installations in Marfa, Texas). These images are presented as part of Paul Robinson’s own artistic and documentary practice, not as substitutes for the original works.

Editorial / Documentary Use on this Website

  • Photographs of third-party artworks, buildings or installations are shown on this site only in an editorial, documentary or art-historical context.
  • The images are used to illustrate location, atmosphere, research interests or the development of the artist’s practice; they are not offered as standalone reproductions of the underlying works.
  • Where reasonably practicable, captions identify the original artist, the title of the work (if known), the location and the year of the photograph.

No Implied Affiliation or Endorsement

  • The appearance of third-party works on this website does not imply any sponsorship, endorsement, partnership or other official connection with the original artist, their estate or foundation, any museum or collection, or the operator of the site where the work is installed.
  • All trademarks, logos, building designs and protected artworks remain the sole property of their respective rights holders.

Commercial Use & Licensing

  • Images that feature prominent third-party artworks, trademarks or distinctive building designs are not licensed as stock imagery, product artwork or standalone commercial assets unless a separate written permission or licence from the relevant rights holders (and, where required, the site operator) is in place for the specific project.
  • Where such permissions or licences have been obtained, they are recorded in the artist’s internal registry and reflected in the contracts or project documentation for that use.
  • Collectors, publishers and clients who wish to use such images beyond this website remain responsible for obtaining any additional clearances that may be required under copyright, design, trademark or privacy law in the relevant jurisdiction.

This information is provided for general guidance only and does not constitute legal advice.

Authenticity & Edition Control

Defined Party. “Photographer” means Paul Robinson (operating as “Das-Unit”), the sole author, artist, and owner of the works and related intellectual property.

Limited editions are strictly controlled to preserve artistic integrity and collector value.

  1. Provenance & Chain of Title.
    Ownership and custody for each work are recorded in the Photographer’s registry from first release. Invoices, COA, and registry ID together establish authorship and lawful title. Transfers (sale, gift, loan) must be reported with buyer details for chain-of-title continuity. Works with broken or unverifiable provenance may be refused service, resale support, or loan. — What is Provenance? (video)
  2. Edition Closure & Negative/Plate Cancellation.
    Edition size is fixed at release and closed on publication of the final impression. Upon closure, source files/plates are locked, cancelled, or marked “no-print.” No re-opens, re-numbers, or format swaps that increase supply are permitted; breach voids warranties and approvals of the Photographer. — What is a Cancellation Proof? (video)
  3. No Additional Editions Once Closed.
    Closure declaration: Publicly state edition size and the closure date; mark the registry as Closed — No further impressions.
    Source decommissioning: Note negative/plate/RAW decommission status (cancelled plate; RAW archived “no-print”); retain proof of cancellation.
    Partner notice: Notify labs, galleries, and platforms in writing that no further impressions may be produced; keep confirmations.
    Remedies: Any later “extra” prints constitute breach/misrepresentation; registry + closure notice support rescission, takedown, and damages.
    Reference: Established printmaking ethics; gallery terms; general contract/consumer-protection principles on fair dealing.
  4. Certificates of Authenticity (COA).
    Legal intent: Attests authorship and edition facts; forms the evidence base for insurance, loans, and resale.
    Required fields: Artist; title/series; year; medium/process (paper/ink/profile); image & sheet sizes; edition & number; print date/place; signature/date; emboss/stamp; registry ID/QR.
    Execution: Wet-ink signature (or secure digital equivalent) on COA; optional dry stamp on verso; COA and print cross-reference via registry ID.
    Evidence & enforcement: COA + registry entry establish provenance; mismatch enables refusal of service, takedown, and contract remedies.
    Reference: Standard gallery/printmaking practice; museum documentation norms; basic contract and provenance principles. — What is a COA? (video)
  5. Artist Proofs (AP) Limited & Recorded.
    Defined scope: APs are a small, capped subset (commonly ≤10% of the numbered edition) for quality verification — not to expand supply.
    Clear marking: Mark “AP” (or “E.A.”) and number where relevant; never retro-convert to numbered edition.
    Commercial rules: If sold/gifted, disclose AP status on invoice/COA; pricing must not undermine edition integrity; no post-closure APs.
    Registry & paperwork: Log each AP with images/notes; issue AP-specific COA; disclose any PP/TP distinctly.
    Reference: Traditional printmaking conventions; gallery paperwork standards; provenance clarity for secondary-market valuation. — What are Artist’s Proofs? (video)
  6. Permanent Edition Registry.
    Legal intent: Fixed record of each impression (and any APs) to preserve scarcity and track chain-of-title/condition.
    Data captured: Edition size; unit number/marking; production details (materials, profiles, lab); COA ID; owner/transfer dates (where disclosed); condition/repair notes.
    Lifecycle updates: Record closures, cancellations, resales, loans, deaccessions; issue updated registry excerpts to new owners on transfer.
    Evidence & access: Time-stamped entries serve as audit trail; provide read-only excerpts to collectors/curators on request; store personal data minimally and lawfully.
    Reference: Gallery/archive record-keeping; collection-management norms; basic privacy law for owner data.
  7. Replacement, Damage & Reprint Policy.
    Eligible replacements require timely notice, photographs, and return/inspection. Manufacture faults are replaced like-for-like; transit damage follows carrier/insurance terms. Reprints outside the edition are not issued; replacements draw from reserved stock if available. Condition reports accompany any loan or replacement decisions at the Photographer’s discretion. — What is a condition report? (video)
  8. Reproduction, Display & Lending License (Collector/Buyer Use).
    Purchase conveys ownership of the physical print only. Any reproduction (print/digital), public display, press, or lending requires a written license from the Photographer. Editorial use may be licensed with mandatory credit “© Paul Robinson — Das-Unit.” Unauthorized commercial use, stock redistribution, or AI training are prohibited. — What is photo licensing? (video)
  9. Unauthorized Use, Infringement & Takedown (DMCA/EU-DSM).
    The Photographer enforces rights through DMCA/EU-DSM notices, de-indexing, and platform takedowns. Infringers may be billed for license fees, removal costs, and damages; repeat violators are escalated. Evidence includes registry IDs, COA data, publication records, and capture metadata. Hosts and institutions are requested to preserve logs for litigation holds. — How DMCA takedowns work (video)
  10. Signature, Stamp & Embossing Standards (COA/print marks).
    Each print carries a hand signature and date (recto or verso) per series standard of the Photographer. Edition number and registry ID appear as specified; dry stamp or emboss as noted. Any added marks, alterations, or detached labels void warranties of the Photographer. Documentation must match the registry entry verbatim. — How to sign & number prints (video)
  11. Edition Registry & Transfer on Resale (Secondary Market).
    All impressions—numbered, AP, PP—are logged with image and technical data in the Photographer’s registry. On resale, submit invoice and buyer contact so the registry reflects new stewardship. Upon verification, a registry excerpt can be issued to the new owner/curator on request. Entries may include condition notes and loan history where disclosed. — How to track ownership history (video)
  12. Droit de Suite / Resale Right Notice (EU/UK).
    Where applicable, qualifying resales trigger artist resale royalties under EU/UK law. Sellers and intermediaries must calculate, deduct, and remit royalties as required. Invoices must state the resale-right assessment; audits may be requested by the Photographer. These statutory rights do not reduce any contractual obligations herein. — Why Artist’s Resale Right matters (video)

Enforcement: Unauthorized copies will be challenged and withdrawn; remedies include takedowns, rescission, and damages under applicable law, without prejudice to any other rights of the Photographer.

Contracts & Templates (Downloads)

Choose your contract and jurisdiction. PDFs open in a new tab (View) or save directly (Download).

Need help choosing? Use the “Which contract do I need?” link on the I&N page; it will jump here and highlight the right item.

ARCHIVAL MATERIAL

Catalogue Raisonné (In Preparation)

The artist is preparing a catalogue raisonné, a comprehensive scholarly record of all accepted works by Paul Robinson. The catalogue will document each work with title, series, date, medium, dimensions, edition and impression numbers (where applicable), provenance, exhibition history and key publication references.

The project covers the full span of practice, from early commercial and fashion photography through panoramic market scenes, experimental negatives, still-life studies and 3D/AI-based works such as the G7 series. Source material includes studio records, negative and print inventories, contracts, condition reports, exhibition checklists and institutional archive entries. Each work is cross-checked against the artist’s internal registry and, where available, supported by certificates of authenticity and conservation notes.

The underlying registry and detailed catalogue data are not published online, but may be shared in excerpt form with qualified institutions, galleries, archives, researchers and collectors on request, for provenance verification, due diligence and exhibition planning.

Enquiries regarding the catalogue raisonné can be directed to info@das-unit.com.

Conservation & Print Standards

A statement on the archival quality of the materials used, such as paper type, inks, and mounting techniques. It also provides guidelines for the proper care, handling, and conservation of the physical prints.

Digitisation & Metadata Standards

An overview of the technical standards used for digitizing analog works and the metadata schemas (e.g., IPTC, Dublin Core) used to catalog and describe each image file, ensuring data consistency and searchability.

Archival Timeline

A detailed, chronological history of the artist's career, including key milestones, projects, exhibitions, and life events. This provides a comprehensive reference for researchers and historians.

Institutional Partnerships & Archives

A list of official partnerships with universities, museums, libraries, or other institutions that are involved in archiving or studying the artist's work.

NEWS & COMMUNICATION

News & Updates

The latest announcements, including upcoming exhibitions, new series releases, recent publications, and other noteworthy events.

Press Downloads

Approved media for editorial coverage. Use is limited to news/reportage, reviews, and event listings with mandatory credit: “© Paul Robinson – Das-Unit”. Commercial use requires a license.

Press Image 01

Caption: Panoramic market scene, Vietnam. 8000 px JPG (web + print)

Download

Press Image 02

Caption: G7 allegory, 3D/photographic composite. 6000 px JPG

Download

Use limits: No cropping beyond standard layout needs; no color shifts; no overlays; no AI training; no stock redistribution. For additional images or higher-res, submit a request via the Licensing form.

Email & Inquiries

Direct contact for licensing, sales, collaborations, and press inquiries.

AI Safeguards & Data Use Policy

Paul Robinson expressly prohibits the use of any images, metadata, or text from this site for AI training, model fine-tuning, dataset compilation, scraping, or synthetic data generation without a written license.

  • No dataset creation, embedding, or feature extraction
  • No derivative synthetic content or style transfer
  • No redistribution to third-party AI vendors or open datasets
  • Mandatory deletion upon notice of breach

Enforcement
Claims may be brought in Germany, the United Kingdom, and the United States (including DMCA takedown notices), in addition to any applicable international venue.

Impressum / Legal Notice

Responsible for the content of this website:

Paul Robinson
Maximilianstr. 35
86150 Augsburg
Germany
+49 (0)1727854254
info@das-unit.com
According to § 27a Umsatzsteuergesetz: Ust-IDNr. DE217157566

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