About These Prints

Photo Process:

All images are completely natural and unstaged; wildlife images are of wild animals, and were taken without the use of artificial lighting. (Any exceptions are explicitly noted in the description of the image.) I do not use any special effects filters on my camera, nor do I apply any such effects in my digital processing.

All images were taken with one of three cameras - a Nikon F100 35mm film camera, a Nikon D2X digital camera, or a Nikon D7000 digital camera. Lenses used on all three cameras include the Nikkor AF-S-DX 12-24mm, AF-S 17-28mm, AF-D 28-105mm, and VR-AF-D 80-400mm, as well as a Tokina ATX Pro12-24mm. A Canon 500D close-up lens was used in conjunction with the 80-400mm lens for some close-up images.

Film images in my collection were taken on either Fuji Provia 100F or Velvia 100F slide film. These two films have the finest grain, allowing me to retrieve the most detail via a dedicated slide scanner. Digital images were taken in RAW format, again to preserve the most detail available in the image.

Digital Processing:

I am often asked "Do you use Photoshop on your prints?" The short answer is "Yes - and these days almost everyone uses a computer to prepare and print their photos." The old darkroom has been discontinued, and anyone using a digital camera has some digital processing done somewhere - either in-camera, or on their own computer, or by the print lab.

Having said that, I believe that an image should represent what I as a photographer saw and captured - and what you as a potential viewer expect to see. Digital RAW images are not what most viewers expect to see in a photographic art print!

And so, while striving to maintain the basic accuracy of a scene, I feel no shame - indeed, I feel obligated both to Nature and to potential clients - in applying a number of standard digital techniques via Photoshop while processing images for printing. These include basic image adjustments (color, contrast, exposure), lens corrections, noise reduction and image sharpening, dynamic range adjustments, compositing and cropping, and enhancements designed to mimic the look of traditional film prints.

Print Process:

All but my oldest prints are printed on Epson professional photographic inkjet printers (or, on rare occasion, the equivalent Canon printer models). This modern print process offers print quality that rivals or surpasses even the best Cibachrome traditional prints, using much more environmentally friendly chemicals and offering extended fade resistance that ensures our prints will last a lifetime - or several!

We adhere to the American Institute for Conservation guidelines for mounting all of our matted prints. The print is mounted on 100% acid-free foam core board using archival photo corners and hinging. All mat boards are archival quality, nd are secured via a linen hinge to the acid-free foam core backing board. This "loose-mount" technique ensures that the print is free to expand and contract to adjust to humidity and temperature variations.

We have all of our dry mounted products finished by a reliable Colorado workshop, as proper dry mounting is a difficult procedure that can lead to tears, bubbles, and peeling if not done correctly. Mounted products have a super flat appearance that puts prints on their best display. Finished with a UV-resistant coating, they will provide many years of easy to clean, fade-free, glass-free viewing. Because of their permanent nature, dry mounts do not conform to AIC standards.

Numbering and Editions:

Each image has one of three designations that determine their editioning. All matted and mounted prints are signed and numbered. Prints below 16" on the short side are hand-signed and numbered on the front, while larger prints are signed on the front, and a certificate of edition is placed on the back which includes a separate signature and edition number.

See our Frequently Asked Questions for more answers about our processes.

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Copyright 2002-2015
Leslie M. Barstow III