All prints are made-to-order and will require one to two weeks’ production time before being shipped. Each order will be acknowledged after payment has been received to confirm the shipping date. To customers who order prints of the same image subsequent to their original order, there may be slight variations in image density and/or contrast when compared to the initial print. If exact matching prints are desired, these should be ordered at the same time.
All prints are shipped flat, durably mounted on high quality backing board with two inch borders top and sides and a five inch border at bottom.
Custom Matting and Framing crafted to fit the Mount Board Size shown will be required to complete the presentation. The bottom border will show below the lower right corner of the image the photographer’s signature. Due to slight size variations please await receipt of your mounted print before ordering custom matting and framing from your local vendor.
Reproduction or publishing of prints sold on this website and related websites in whole or in part in any form, photographically, digitally, or otherwise, is strictly prohibited. The purchase of a print on this website is intended for buyer’s exclusive use in a single display location, and buyer accepts these conditions without modification. Please see Terms and Conditions of Sale for further clarification and additional terms and conditions for the sale of prints.
Grand Tetons at Sunset from Jenny Lake, Grand Teton National Park, Wyoming, July 1976
The Teton range changes visually at every turn on the one-way Jenny Lake Loop Road. Add to the changing vistas a setting sun glistening off the water, and the photographic possibilities are endless…and fleeting.
Using a cumbersome view camera requires patience and commitment to maximize compositional strength and to effectively use light direction. On this day a setting sun allowed little time for compositional effort before a special moment would be lost to changing light. My primary concern was twofold: 1) To keep as many tree limbs as possible from intersecting the distant mountain ridge, and 2) to keep the tree trunk at right between my camera position and the setting sun to avoid flare and ghost images in my lens.
Taken with a 150mm f5.6 Schneider Symmar lens on a 4×5 Calumet view camera using Kodak black and white film, this scene perfectly represents the mood of a late summer afternoon yielding to a setting sun.
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