Getting there is half the fun
One comment landscape and nature photographers hear frequently is,"Boy, you have a great job! You get to travel all the time!" The truth is, that much of the time is spent in a dark studio editing images and making prints. That's why I treasure my time in the field. I make a point to take at least three major trips a year -- more than that and I have problems processing the images. I shoot a lot, especially now that digital capture has eliminated the film cost part of the equation. The downside of shooting a lot of material is having to sort through it later; the amount of hard disk space needed is mind boggling! Storage can also be an issue on the road, and requires that I carry a laptop and two backup drives.
I like to get off the beaten track and hike a bit if possible. Some of my favorite images were shot days from the road. I try to travel light, carrying only one camera and two lenses. The only filters I use are a basic UV filter and a circular polarizer, and the occasional graduated filter. The less I have to think about my equipment the easier it is to concentrate on what the light and the weather are giving me.
While I love the process of getting an image from pixels to paper, it is time-consuming. The images are downloaded to hard drives, edited and color-corrected. I make all of my own prints, on Epson professional printers, using UltraChrome K3 pigment inks. I run test images before committing to a master file and then make masters for each of my edition sizes, and track the date, paper, sharpening, profile -- all the technical data -- and log the prints. Rather than make 100 prints at a time, I print a few in each session. Editions are limited to 250 prints of each image, but tend to evolve over time, with paper selection and inks changing with technological advances. The print you hold in your hands is truly one-of-a-kind.
I print on genuine Epson paper, Breathing Color Canvas and use Hahnemuhle, Hawk Mountain, Moab and Crane papers for specific prints. All of the paper I use is acid-free, archival quality fine art paper. Tests by Wilhelm Institute indicate that prints made with the 7800/4800 K3 Ultrachrome inks will last at least 75 years, if not more. Since the nature of photography is so rapidly changing, I offer a guarantee on my prints -- if they fade, I will replace it for the original owner. Contact me for details.
Matting and Framing
I assemble all of the work in my studio. While I tend towards a simple gallery style in framing, I do offer any style you might want. I use TruVue Conservation Clear glass and acid-free mat board and foamcore backing boards. Prints are attached to the backing boards with paper hinges, and the mattes are hinged to the backing board with linen tape. All of my prints are entered into a database which keeps track of when the print was sold, how it was mounted and who it was sold to. This verifies the authenticity of each limited edition print -- I also issue a Certificate of Authenticity with each print. At shows, you receive a combination bill of sale and COA that lists all of your purchases.