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IF YOU LIKE WHAT YOU SEE ON THE SCREEN YOU WILL LOVE THE ACTUAL PRINTS GENERAL INFORMATION Each fine art photograph is sold in a LIMITED EDITION numbered series with a maximum total of 40 prints. (The prices may increase as the number of remaining prints in the series decreases. Images may be discontinued without prior notice.) The prints are inspected for any flaws prior to shipping and include a signed and numbered Certificate of Authenticity.  From the initial exposure to the finished digital file, each image is captured, processed and managed by Mark Overton. After all adjustments, corrections and editing are completed in the digital darkroom, the digital negative is printed at a professional lab. Most images are prepared on Fuji Crystal Archive (FCA) gloss paper with the Chromira printer. The Chromira LED printer exposes the light sensitive paper before it undergoes a traditional “wet” photographic chemistry process. This process results in prints that have deep, rich and vibrant colors with a nice glossy surface. Most black and white images are prepared at the pro lab on Silver Rag paper using a top of the line Epson printer and their excellent archival quality inks. Custom paper is available by request including supergloss, matte or canvas gallery wraps. Please contact us for more information and custom price quotes. Mark@WildernessCompositions.com IMAGE CARE & PRESENTATION FCA paper is designed to resist fading and with proper care has excellent print permanence. When choosing the print only option please be aware that they are full-bleed, which means that there are no white edges. (The white edges shown in the example below is representative of what a black mat with a white core that is bevel cut would look like.) The prints can be damaged easily by folding or creasing so please handle with care, holding from opposite corners only and preferably using white cotton gloves to avoid smudges. When working with a professional framing shop you can request that the mat overlap be as small as possible and for best results consider dry mounting. (This is a permanent solution where the print is adhered to the mounting board using heat and pressure and will keep the photo permanently flat and avoiding buckling or waving over time.) There are a multitude of options for mounting and framing and therefore the photos are sold as print only and if available, dry mounted with a black mat.  Ideally, the images should be kept under museum quality UV glass or glazing and kept out of direct sunlight in an area that doesn’t have large temperature fluctuations or excessive humidity. If there is too much light in the space some images may benefit from non-glare Plexiglass. If the area is too dark, additional lighting, even pointed directly on the photo, will drastically improve the visual aesthetic. PROCESS Most of Mark’s landscape photography knowledge has been developed through experience and independent study. Understanding technical details is necessarily important but using a rigid formula for photography composition is not enough. Mark is currently interested in producing fine art images that go beyond the look of his more traditional landscapes. The freedom to experiment, coupled with self-directed learning, helps to keep his creativity, curiosity and imagination sharp and clear which leads to a fresh perspective uniquely his own. Mark begins the image capture process by analyzing topographic quadrangles, National Forest maps, atlases, hiking books and other informative sources. Formulating a photo shoot plan includes factoring in the best time of day to visit a location and the possible lighting scenarios based on the season and weather conditions. When the time is right, he sets up the tripod for his full frame 24+ megapixel digital camera and determines the appropriate equipment and settings to use for the given conditions. Shooting in RAW mode, a remote shutter release is used and light permitting, several shots with subtle variations in composition and exposure value are taken. After the scene is captured, Mark mentally locks in the view for editing reference later back in front of the computer. Photoshop CS5© is used in an effort to match the digital negative with the actual splendor of the moment. However, due to the difference between the way the camera and the human eye see the world, it is rare, if not impossible, to truly achieve this equivalent. He strives for this elusive goal and in Mark’s opinion this is the essence of photography. In fact, this process of capturing and creating prints that fulfill the creative vision of the artist is the definition of fine art photography. THE SITE WildernessCompositions.com features fine art landscape photography and downloadable screen savers by Mark Overton. Though the name compositions is in the title of the site, this does not mean that the photos are digital composites of cut and pasted parts to make whole scenes. (See DEFINITIONS of the site title below.) Panoramas can be stitched together from multiple exposures to achieve the desired longer dimension while maintaining high resolution. The digital darkroom is a powerful tool but no elements are added to the images that where not originally there. While viewing the site please take the time to enlarge the images by clicking on the image thumbnail or title. This helps to show some of the detail of the actual prints. However, please keep in mind that the photos on the site are low-resolution and relatively small in size to aid in faster viewing times. These web friendly images are merely representations of the high quality, high-resolution, fine art prints offered for sale. The photos are prepared in accordance with industry accepted color standards and monitor calibration software. Having a properly calibrated monitor helps to approximate how the photo art will appear in “real life” but the real thing is still far more impactful than what you see on your monitor. So….. IF YOU LIKE WHAT YOU SEE ON THE SCREEN YOU WILL LOVE THE ACTUAL PRINTS.
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All site content © 2010 Wilderness Compositions- Photography by Mark Overton
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