All images from the Evening Standard are limited to 300 prints only. Each certificate issued will also display your unique edition number.

Ladies Day by Andy Paradise

Ladies Day at Ascot traditionally the third day of the meeting .The main race of the day is the Gold Cup and in 2001 it was won by Royal Rebel ridden by jockey Johnny Murtagh  .  . by Andy Paradise

  • Print Only

    From £95

    • £

    Framed / Mounted

    From £192

    • £

    This is Classique, at its longest edge the print will be 35.5 cm long with an overall length of 51cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 160 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 310 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats on the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 310 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 425 £
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    77cm longest edge
    77cm longest edge
    77cm longest edge
    77cm longest edge

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 79.166 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 95.833 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 108.333 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 137.5 £

    (Rest of the World £40)


    (Rest of the World £15)

About Andy Paradise

Andy Paradise has been a professional photographer since the start of 2000.

The previous year, he left the Kent Institute of Art & Design with a 2:1 BA Hons Degree in ‘Editorial and Advertising Photography’ although his learning of the medium began much earlier in the labs of Pinewood Film Studios. Since the start of 2000, Andy primarily worked for the UK broadsheet newspaper ‘The Independent’ as a staff photographer but going freelance at the beginning of 2003.

During his time as a staff photographer, he went on a wide variety of assignments from portraits of A-list US actors to gritty news and politics. After just nine months of professional working, he secured himself his first award at the ‘Picture Editors Awards’ for best Black & White image of 2000.

Since going freelance he has taken on a variety of other clients (see client list) and has also been pursuing other areas of the medium, which hold interest for him. The dedication, timing and patience he brings to each assignment ensures he will get the best images from a subject and that the ‘definitive moment’ is always captured.

About Jeremy Selwyn

Press photographer Jeremy Selwyn has worked for the Evening Standard for nearly thirty years. His job has taken him around the world attending great sporting moments and history making news events.

But it is his daily observations of London life which will resonate most with the readers of the Evening Standard

He has photographed the changing faces in Downing Street as Prime Ministers come and go and his multi award winning career was recognised again last year when he was recognised as the National Newspaper Photographer of the Year with his dramatic image of Grenfell Tower ablaze.

Jeremy said: “As a photographer your job is to record history as it happens but this was one night, a night where so many people lost their lives, that I really don’t want to remember. So, although it’s a huge accolade, it’s tinged with sadness for me.”

Other recent work of Jeremy Selwyn has proved very popular with readers of the Evening Standard when the moat of The Tower of London was filled with poppies to commemorate those fallen during the first world war.

The installation, Beyond The Deepening Shadow,was to mark 100 years since the close of the First World War.