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. I use only UV, neutral density, or polarizing filters in my work. Color correction, printer calibration and cropping may be performed on the digital image.

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.

Digital Process:

The Nikon D2X was Nikon's first truly capable professional digital camera for landscape photography, with 12.4 Megapixels of resolution and a 12-bit dynamic range. With its wide dynamic range and exceptionally clean image, the D2X can exceed 35mm film quality and rival medium format films.

The Nikon D7000 is a more portable, more modern camera than the D2X. With 16.2 Megapixels, a 14-bit dynamic range, and a wider selection of clean ISO speed ratings, it allows me to go beyond even the exceptional image quality of my D2X.

I shoot all of my digital images from these cameras in RAW format and process the results as would a truly professional film photographer.

Film Process:

Fuji Provia 100F or Velvia 100F color transparency (slide) film were used for all images recorded on film. These two products have the finest grain of any films currently on the market, which makes larger prints more aesthetic. Of the two, Provia provides a more natural color balance, while the Velvia has more resolution and more color saturation.

Original slide images are scanned in with the finest oil-mounted drum scan at 4000dpi or (more recently) scanned with a Minolta DiMAGE Scan Elite 5400 film scanner at 5400dpi.

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:

All prints are signed and numbered. There is no set limit to the number of prints for prints smaller than 16" on the short side, and each size of smaller print is numbered separately. Prints 16" and larger on the short side are considered as part of a single Limited Edition - no more than 200 prints will be made of any image at these larger sizes. Once a Limited Edition has reached its full printing, no more smaller prints of that image will be produced and the image will be retired except for possible editorial use.

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

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Copyright 2002-2015
Leslie M. Barstow III