All prints are sold mounted in a double mat of archival quality acid-free, unbuffered cotton rag. A "fine art museum style" matting (double white mat) is standard, see "Mat colors" below for additional options. All prints are hinge-mounted to allow full freedom for expansion and contraction from ambient moisture and are backed by acid-free foam backboard. This form of mounting is reversable so that the print can be removed from the mounting and remounted in case of damage to the mounting or a desire to replace the mounting due to a decor change, etc. Once I set arrangements with a local framer I will be providing a framing option for prints mounted in mat sizes up to 20x24 inches.

As noted above, the standard mat provided is a double white museum style mounting. Some images don't lend themselves well to white matting and will have a suggestion reading "Standard mat not recommended" or "Recommended mat: ..." on the "large size" image page. In such cases we suggest you specify "artist's recommended" mat unless you choose specific mats of your own liking- you are welcome to specify either Crescent or Nielsen/Bainbridge mat numbers in this case, however if you return a print matted with colors chosen by you in this way I must deduct the cost of the mat from your refund. If white on white doesn't work with an image, my second try is using a black inner mat with a white outer mat (code BkW), which works well with most of the images that don't lend themselves to an all white mat. The third test will be using a white inner mat with a black outer mat (code WBk). If none of these combinations work with the image, I will generally choose a combination of: Dark Green inner (Crescent #1555) with white (code GnW) for foliage scenes, or grey outer (Crescent #1574) along with a white(code WGy), light yellow (code YGy) (Crescent #1517), or light rose (code RGy) (Bainbridge #8489) inner mat. If none of the foregoing work I will choose what is necessary to properly accent the print. There is no additional charge for a nonstandard mat color as long as it is available from Bainbridge or Crescent in a standard 32x40 size, however if I have to order a mat it may add an additional 10 days to the delivery date. I generally keep a small stock of the above noted colors making delays for these particular combinations unnecessary. If you wish to see a sample of the colors chosen we can email a sample of the print with an approximation of the mat color(s) as a border (keep in mind that the colors as they appear on a monitor may deviate from the actual color).

The images you see here:

The images presented are rather low-resolution and will appear blurry. This is because the space on the web server is relatively limited, thus the size of each image file needs to be kept fairly small in order to present a broad sample of the available images in the inventory. It also permits those with slow connections to the internet to be able to view an image within a reasonable amount of time. As presented here the images should be sufficient to evaluate the content and color with respect to your desires, be assured that any image sold as a print will be exquisitely sharp and clear and warranteed as such. You will not sell a print in a size that would be unsatisfactory at the minimun recommended viewing distances as cited on the recommendation pages elsewhere on this site. Some prints, where appropriate (such as 'Finale') have a slightly soft focus in any print larger than 8x10, but the films of that nature are appropriate for a soft focus, and as we get the site filled out those with soft focus will be noted with the image.

The watermarks:

All the large images on this site are watermarked with the website name. Although we would prefer not to have to do this, the images are large enough to make them valuable to individuals who might not be concerned about an artist's rights under copyright law, and the web makes such images easily accessable to anyone. The watermarks make the images as they are presented more or less unusable to unscrupulous persons, are difficult to remove, and any attempt to remove copyright markings is a crime under federal law over and above copyright infringement issues. We apoligize for the visual impact of their presence and have made every effort to minimize their impact on the presentation of the art.

Image colors:

In general the colors displayed by your monitor when viewing these images will probably be somewhat innacurate because an uncalibrated monitor either uses the factory default color settings or uses the values set by you based on a subjective judgement of appearance, and even color calibrated monitors will deviate slightly from one to another. Our production is 'color managed' from the scan through the print, with the scanner, monitor, and printer matched by calibration in order to allow the accurate reproduction of the colors captured on the original film. If your monitor has not been calibrated properly (which requires additional software and a calibrator that "reads" the monitor during calibration) then the colors you see on your monitor probably won't live up to the colors inherent in the images you see.

About purchasing and display of photographic prints

Selection and display of your photographic prints:

Obviously, the first thing to consider when selecting a print for the art itself is how it makes you feel. If you're buying in order to decorate with beautiful art, be certain that you are satisfied with the feel of the piece or pieces you are looking at. The second thing to keep in mind is whether the colors in the print will fit into your decorating schemes. Most recommendations I've found suggest that you not choose prints that will not fit into your present decor even if you have plans on changing the decor in the future; I might deviate from this slightly to say that if you have a firm contract with a builder and have made firm decisions on the colors in the new decor then you may consider prints for it. If you are using a decorator by all means involve them in the decision. It is best to know where you plan on hanging the print. Read the information below regarding "Caring for your photographic prints and ensure the anticipated location for hanging the print avoids the damaging conditions pointed out in that document. If the particular print being considered is dark be sure the anticipated location has plenty of light. Please note that most of my prints are quite dense and need to be displayed in a well-lit area. Some prints may lend themselves to being printed "light" and some may work ok in average lighting, but if the location you have in mind is not well lit please talk to me before ordering a print to be displayed in an area that has less than ideal lighting.

As for selection of prints as an investment, no recommendations can be made as we have no experience in this area.

Print size selection:

When deciding on a print size consider that the recommended minimum viewing distance is 1.5 times the diagonal dimension of the print. This means, for example, that large prints should not be displayed in places such as stairwells and narrow hallways. An 8x10 print is 12.1 inches on the diagonal (after matting) and so requires a minimum of 18 inches to the viewer's eyes, a 24x30 print is 37.7 inches on the diagonal after matting and so requres a minimum of 56.5 inches to the viewer's eyes, which is slightly less than 5 feet. As a result, the largest print that should be displayed in a "common" stairway or hallway of approximately 36 inches in width would be 8x10.

About mounting:

These prints are mounted using acid-free archival materials so the print will not be damaged over time by the mounting. Display them in a place that is not exposed to high levels of moisture or heat and is not exposed to sunlight or flourescent lights, both of which are high in ultraviolet light (UV), which will cause your prints to fade more rapidly. If you choose not to purchase special, low-UV lighting, illuminate photographic prints with incandescent lighting only.

All photographic art should be mounted behind glass. Low-reflectivity glass is recommended as it greatly enhances the appearance of a displayed print. Ultraviolet filtering glass will provide additional protection against fade, however there is some debate as to whether the additional protection is worth the additional cost of the glass, as it is rather expensive in comparison to other options. Any artwork is however, to some degree, an investment and UV filtering glass certainly protects that investment. If the art will be displayed in an area subject to high levels of ultraviolet light UV glass is highly recommended. The back of the work should be sealed to the frame to exclude the intrusion of dust and to resist the infiltration of atmospheric contaminants.

About the lifetime of the prints

Specifications differ on the ultimate life of digital prints under varying conditions. We currently treat our prints (both paper and canvas) with a product that will, at a minimum, double the life of the print to 120 years according to the manufacturer, behind standard glass and illuminated with incandescent lighting- neither of which is 'good' for a print. Under ideal conditions (behind UV filtering glass and lit with special lights with little or no UV emission) the life is rumored to be in excess of 500 years. An added benefit of the treatment is that it adds a 'depth' to the prints on paper such that it is difficult even upon close examination to tell that it is not a standard darkroom process photographic print.

First, read the information above under the heading "Caring for your photographic prints" as it contains most of the recommendations necessary for proper framing. If you purchased an unmatted work, ensure your framer uses all acid-free materials for the matting. This includes the backboard (which goes behind the art), the mats (which go around/in front of the art), and the hinging materials (which hold the art and the mats to the backboard). Also, be certain that the artwork is properly mounted with hinges (it will be "hung" on two or more strips of acid-free linen tape or rice paper, generally with a wheat gluten adhesive, so that it is free to expand and contract as moisture levels change without causing it to warp). Some framers may use "photo corners" to mount prints (especially smaller ones) and this is acceptable as long as the corners are acid free and durable enough to hold the work securely. If your framer suggests things like "dry mounting" where the entire print is glued to the backboard with a heat activated adhesive sheet, we recommend you find another framer as this method is almost certain to warp and is not reversible as the suggested methods are. Next, be certain that the business you choose for framing seals the back of the framed artwork to prevent dust from invading the framed artwork. I prefer a full cover over the back of the frame, as far as I know a tape sealing the edges between the frame and backboard is also an acceptable (though, to me, less desirable) method although I have not researched opinions on this method.

The prints are produced digitally by the photographer using permanent inks from films scanned at high resolution using equipment that is 'color calibrated' to ensure faithful reproduction of the colors recorded on the film. The resolution of the scans is high enough that, in general, digital enlargement is not necessary to produce 11x14 prints, allowing full and accurate reproduction of the details from the original scans, and in those images where sufficient detail is present minimal enlargement is required to reach the size limit of my printer. The images have been captured on 35mm, medium, and large format films and are available in sizes up to 24" on the short dimension. The maximum print sizes offered will be based on the sharpness of detail and the content of the film.
Colors: As a general rule of thumb the color of the product is precisely matched from the negative to the print, or corrected slightly where some defect exists in the negative's color (due to age, reciprocity, less than ideal exposure, etc.). In some cases (some early AM/late PM shots) reds have been enhanced in scenes where it did not record appropriately. The failure of reds to record in low light conditions results because red has the lowest energy level of all the colors of visible light and as a result it does not have sufficient energy to fully saturate the film layer that records reds under low-light conditions. This can be compensated for by slightly overexposing the image, however this method will result in overexposure of the other color layers, especially the blue layer, and thus it essentially just shifts the problem to another color. To correct for this, some photographers will use filters that enhance reds under conditions where it would be lost (a reddish filter will block some of the non-red light entering the lens and allow more exposure of the film to permit the red layer to more fully saturate). Some consider this to be 'unfaithful' to 'pure' photography, however in my point of view the photographer should be attempting to faithfully reproduce the scene as seen by the eye and as long as the method (filter or labratory correction) is a compensation for the shortcomings of the red end of the spectrum (actually a shortcoming of the film's abilities) then I consider it to be acceptable from a 'purist' point of view. Going beyond simply correcting for the inherent problems of color photography moves into the realm of artistic interpretation and beyond the 'purist' philosophy. I do not use color filters in my work, and as a rule I will only correct for the defects inherent in photography in my color adjustments. The only 'artistically enhanced' images you will find on the site are 'Saturation Point' and an alternate version of 'Warm Haze' that you may find in the 'Sunsets' section, the first due to corrections for the fall colors in the leaves that caused excess red in the sky colors, and the second an 'over-correction' for the loss of red exposure in the original image. The 'purist' version of 'Warm Haze' is actually missing some of the reds present in the original scene, and the 'artistic' version, although somewhat over-enhanced in the reds, results in a stunning version of the scene that I find extremely pleasing (as long as I take my 'purist' hat off). 'Winter Farm' is another image that, as presented here, is missing some of the late day redness that existed in the original scene, but when closer to the original scene it was mistaken by some for a beach shot. Other images that one might expect are artistically enhanced are not, even 'Rosy Start' is a faithful reproduction of the original scene (I was never able to get my darkroom prints of this image right, it always came out too pink or violet or else almost completely colorless) and the only enhancement in 'Rosy Start' was to the yellow in the goldenrod in the scene that, although appearing correctly to the naked eye, was somewhat muddy and washed out in the prints. It was actually quite a shock to me, after my digital equipment was fully calibrated, to scan that negative and have it suddenly appear with the correct red tones on the monitor after all my failed attempts in the darkroom. Some of the sunsets are somewhat corrected for the film's shortcomings but probably not enough, as my generally 'purist' philosophy creates a fear in me of pushing things too far that causes me to hold back, and the only shots I think are close to fully corrected are 'finalé' and the 'River Road' sunset. The others are but weak imitations of absolutely stunning scenes. I'm also not especially fond of some of the color enhancing films on the market because although they seem to produce some stunning greens (see the 'Wolf Brook' shots in the South and West Catskills gallery room for examples) they seem to sometimes over-saturate some reds to the point that a loss of some image detail occurs, and although the blues they render are fabulous they don't seem "natural". I've taken a few shots of Cardinal flowers in the Tug Hill region that had the problem with oversaturated reds (not that these images would necessarily have been presentable if the reds hadn't been over-saturated).

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