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 two cameras - a Nikon F100 35mm film camera or a Nikon D2X digital camera. Lenses used on both cameras include the Nikkor AF-S-DX 12-24mm, AF-S 17-28mm, AF-D 28-105mm, and VR-AF-D 80-400mm. 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 is Nikon's newest professional digital camera. It is capable of recording 12.4 Megapixels of data with a wide 12-bit dynamic range. With this increased dynamic range and exceptionally clean image, the D2X exceeds 35mm film quality and rivals medium format films.

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 a bit 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:

We are in the process of switching from photo imaging to Inkjet printing; after significant testing and research, we feel the Inkjet prints have a better color rendition and are likely to last longer than traditional prints under proper display conditions. 8"x12" and 12"x18" prints are printed using Epson UltraChrome Hi-Gloss inks onto Ilford Galerie Smooth Gloss paper. Larger prints are printed using UltraChrome K3 inks on a Premium Lustre paper.

We adhere to the American Institute for Conservation guidelines for mounting. The print is mounted on 100% acid-free foam core board using archival photo corners and hinging. All mat boards are archival quality, and 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. (Dry mounted prints do not conform to AIC standards, but provide a compelling and durable product.) Due to shipping limitations, all framed prints use Acrylic instead of glass; although it scratches more easily, it is also lighter and clearer (most glass has a blue-green tint).

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.