Fine Art Landscape Photography
About the Photographs
The images on display in the website gallery were created primarily using a hybrid of old and new photographic processes, though we are shooting less film and beginning to add images that are entirely digital.
Most of the images that appear here were recorded on color slide film (Fuji Velvia or Provia) and appear exactly as they did through the viewfinder at the time of the photograph — none of the images have been cropped, though some of the skies have been darkened in-camera using a neutral density filter over the lens at the time the image was made.
A variety of cameras were used. Most of the images were captured with a 35mm SLR camera (Nikon FM2) and with a variety of lenses. These are numbered sequentially beginning witn number one. Some were taken on larger 120mm film using a Pentax 645 medium format camera and are listed as 1000 - 1999. The panoramic images were taken with a panoramic camera that uses 35mm film: the Hasselblad X-pan and are filed as 2000 - 2999. The newest digital images are in the 3XXX range, while digital composites (photographs created using more than one digital image) are in the 4XXX range;
Select film-based images were scanned with a film scanner to yield hi-res digital files that are then brought into a computer for the next step in the process.
Minor adjustments — like those one might make in a traditional darkroom — are made to each image to prepare it for printing. Typically, this means color balance and contrast control, depending upon the medium on which the print will be presented: semi-gloss paper, watercolor paper or canvas. This is true as well of the digital images.
The print is then output on an inkjet printer that makes use of an archival pigmented inkset which ensures the longevity of the image. (Conventional desktop printers use dye-based inks that tend to fade over time.) Laboratory testing on the pigmented inkset used by the gallery show no noticeable fading under normal display conditions for anywhere from 80–200 years, depending once again on the medium chosen. This process yields fine-art prints that will outlast prints made traditionally in a darkroom, and is now favored by galleries and museums.
Each image is personally printed and signed by Steve.
The finished print is then mounted in a 100% cotton rag mat with a rag backing board and hinged so that the integrity of the print is not compromised by the use of adhesives or mounting tissue. In the case of canvas, Steve hand-stretches the print on a beechwood stretcher, sealing it with a UV coating.
For larger displays, the gallery also offers prints mounted on Sintra board and then laminated for protection. These are usually hung by means of a wooden brace on the back of the print and so are referred to as "brace-mounted."
We are always happy to help with your design decisions and can loan a print so that the size may be evaluated in the specific setting one has in mind. Alternatively, we can mock-up an example of how a print will look in your home or office and send it as an e-mail if you provide us with measurements and/or photographs as a guide.
Note that the finished size of the print you buy is the size of the matted print; the actual image size is smaller.
We stand behind the quality and integrity of every print and offer an exchange or full refund if you are not completely satisfied with your purchase.
To view and purchase prints, please visit the portfolio section of our website. If you already know the title or gallery number of a print that you are interested in, you can enter that information below.