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. (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.
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!
- RAW images are raw: By definition, RAW images are unfinished. They are under-saturated, often fuzzy, and retain imperfections of the lens and sensor. A consumer digital camera - even a smart phone camera - applies many automatic enhancements to every picture it takes, based on the scene it believes is being captured. With RAW formatting, these corrections are left almost entirely to user post-processing.
- Camera sensors are not eyes: The eye and brain are miraculous contraptions that allow us to see so much of the world around us, almost effortlessly. Cameras, in contrast, are limited, clunky beasts. A traditional slide film captured about seven "stops" of light. (A "stop" is a photographic term meaning a doubling of the light level. So from black to white in slide film is only seven doublings of the light level.) Modern digital sensors can capture ten to twelve stops. The human eye is perhaps no more sensitive, but it is constantly adjusting and sending images to the brain, and the brain puts everything together to create an image that is better than anything a RAW image can capture . Effectively, the eye and brain create what modern digital processing calls "HDR" (High Dynamic Range) images. The brain also composites images together in other ways - to increase resolution, to provide a wider angle of view...
- We are spoiled on film prints: As we've grown up in this modern era, almost all of us have grown accustomed to seeing brilliant prints made with Kodachrome or Velvia films using a Cibachrome printing process. This color photographer's favorite combination has been the gold standard of printing for decades. Now it's gone; Cibachrome chemicals have been discontinued. But we still crave "that look", and a more subtle print just doesn't hold up.
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.
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.
- Open Edition: Many of my images - mostly those that have not yet been printed for framing or mounting - will have an open edition without a print run limit. These images may be used on my greeting cards as well as regular prints.
- Limited Edition: Images in Limited Edition will have no more than 200 total images printed of any size. Larger prints (16" on the short side or larger) are numbered together regardless of size; no more than 100 large prints will be printed from Limited Edition images. Smaller prints will each be numbered based on their size - but large and small prints together will be kept to 200 total prints. A few older Limited Edition prints may have been used for greeting cards, but they are now retired from that use.
- Collector's Series: Images in the Collector's Series will be limited to 100 large prints (16" on the shortest side or larger). No smaller prints will be made of these photos. As images in this edition sell, the price of these images may increase.
See our Frequently Asked Questions for more answers about our processes.