About These Prints
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
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.
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.
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.
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
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.