Making the Fine Art Print
The process of making a fine art landscape print involves a number of processes revolving around creativity, vision, and technical knowledge. First and foremost is the process of seeing and capturing the image in nature. I currently capture my images in two ways, the first being with a large format view camera using 4x5 transparency film, and the second being with modern high resolution Nikon digital SLRs. There are advantages to each camera system, and which one I use is often dictated by conditions in the field, subject matter as well as the anticipated use. The view camera will produce an image that when the 4x5 transparency is scanned, is incredibly detailed and dynamic with extended depth of field that can be enlarged and printed to very large sizes (40x50 and larger). I use this system for much of my grand and intimate landscape work when I know I want to capture maximum detail and print large. The new high end digital SLRs have the ability to capture amazingly detailed high-resolution images with great dynamic range with the added advantage of greater portability, instant feedback, and high shutter speeds with auto-focus, which is essential to the photography of active wildlife. These new camera systems have revolutionized the way nature and landscape photographers capture images, particularly with the ability to photograph at very high ISO values in low light conditions at the margins of day.
Once the image is seen and captured, the digital file from the transparency scan or the RAW file from the Digital SLR is processed in the digital darkroom and prepared for printing. I must stress that the work I do on these files in the computer consists only of dust spotting, color correction, burning, dodging and contrast enhancement to extract the full tonal range of the image, all legitimate darkroom techniques practiced by photographers to produce fine art prints in the earlier days of film and analog printing. I do not make digital composites with elements from different scenes, nor do I grossly change or exaggerate the color. My goal is to produce a print that is faithful to the scene in the light and conditions that I witnessed. Ansel Adams once stated that the negative is the score and the print is the performance. Modern digital output is no different, with the digital file being the negative and the final archival digital print the performance.
Once the final file is prepared, I print it in my studio on a large format Epson Stylus Pro 7900 printer with Ultra-Chrome HDR pigment inks on several different papers and for really large prints, I now have access to a 44" HP Z3200 printer. My favorite papers currently are Epson Exhibition Fibre, Ilford Gallerie Gold Fibre Silk and Hannehmule Photo Rag. The output on all, of these papers is rich and vibrant and results in stunning high-resolution continuous tone color and B&W prints. The combination of these inks on these papers results in prints that are archival to 75-100 years, which means that these prints are guaranteed not to fade over our lifetime.
In addition to prints on traditional fine-art papers, I am also now pleased to be offering prints on a stunning new archival museum quality canvas. This is the new Breathing Color Lyve Canvas and its enhanced color gamut exhibits stunning output and when coated with Breathing Colors Timeless liquid laminate results in a gallery wrap that is truely archival.
I offer two series of prints: prints that are open editions and prints that are limited editions. Most of the prints I offer are open edition and can be purchased as the print only, the print mounted and matted, or the print mounted, matted and framed. Selected images are available as limited editions of 25. These limited edition prints are only offered in 16x20 or larger and available as print only, matted, or framed. All of my mounting, matting, and framing is done using archival acid-free foam-core and acid free museum grade mat board. Frames are wood in black, walnut, cherry, or maple providing a simple yet elegant presentation. I use framing quality Tru-Vue reflection control glass. Museum Glass is available as a special order with added cost. I am also exploring the option of offering a number of styles of glass-less Plaque mounting. Very large prints can be laminated and mounted on 1” gatorboard, or plaque mounted. Contact me for details for any of these options.
To order, click on the Purchase Print link below the image and you will be taken to a page with size and mounting,-framing options. Please note that the actual print size may vary slightly due to original format and cropping. For example an 8x10 size print may be actually 7x10, but both sizes will be mounted and matted to 11x14, a standard frame size.
Shipping is provided through UPS or FedEx, with print only orders packed rolled in sturdy tubes, and matted and framed prints professionally packed in boxes. As all my work is custom printed to order, I usually ship within 3 weeks of order.
I offer a 60 day return, money back guarantee if you are absolutely not delighted with your print.
Interior Decorators, Office, and Corporate Art
My large, visually stunning and evocative landscape and nature photographs are perfect for decorating office and corporate spaces. Purchasing my work will bring the beauty of the natural world into your work environment. I offer quantity/bulk order discounts and will work with you on custom framing and matting options. E-mail or call me to discuss your needs. Corporate clients include University of Colorado Hospital, Ireland Stapleton Law Firm, Peoples Bank, The Colorado College, and Monroe Point Condominiums.