Orders
September 4, 2007

All of the photographs shown on this site are available as original prints made to order by the artist with the greatest care and finest techniques, from four-by-five inch color film. Note that I have many new images captured digitally which are not yet on my site. This page lists details about the prints and matting, the available sizes, their prices, and advice on how to order them. More extensive information about how I make photographs is on the Processes page, not yet updated to reflect my transition to digital capture. For a personal biography, a partial list of publications and exhibits, and reviews of my work, go to the Bio page.

All prints have generous white borders as indicated by the table. Framing is not provided. Please refer to my Framing Recommendations page for advice. I mount and mat most prints up to the 24 x 30" size, but never the two largest sizes (unmatted only - ship rolled). The four smaller sizes are also available unmatted, as shown below.

Images having different aspect ratios, including "Autumn reflections #2" and "Aspen panorama, Southern Utah" require special sizes and prices, linked from their respective gallery pages and from here: AR#2 Aspen Pan.

Nominal Print Sizes
Matted Price
Unmatted Price
Actual Image Size
Print Size Incl. Borders
Matted Size
Recommended Mat Size
11 x 14
$400
$350
10.4 x 13.1"
12 x 14.5"
16 x 20"
14 x 18
$450
$400
14 x 17.6"
16 x 19.5"
20 x 24"
20 x 24
$600
$525
19 x 24"
22 x 27"
27 x 33"
24 x 30
$900
$800
24 x 30.2"
27 x 33"
32 x 39"
32 x 40
$1,200
32 x 40"
36 x 44"
Unmatted
40 x 50"
40 x 50
$1,600
39 x 49"
43 x 54"
Unmatted
48 x 60"
Print Details:                         Order Details:                         Place an Order:
• My currently available prints are pigmented inkjet prints on Epson Premium Luster Photo Paper (260). All are printed with Epson's UltraChrome K3 Vivid Magenta inkset for best quality and long life on display. Behind UV-filtering glass or plexiglas, the Wilhelm ratings of this inkset/paper combination is more more than 170 years, with the tests in process. Compare that to 29 years for an Ilfochrome (eight times shorter in a more realistic, longer-term test), 15 years for an Ilfochrome under halogen lighting, 32 years for a dye transfer, or two and a half years for an ordinary color poster, notecard or book cover. The 14 x 18 and 11 x 14 sizes are also available on Crane Museo Silver Rag paper on request at no extra charge.

• My logo appears in every print, carefully made from complementary image colors, and positioned and adjusted to complement the image. Example

• All prints are signed on the front, in the margin, with a very fine tipped, pigmented black pen.

• The white borders of all prints on Premium Luster are very subtly tinted to avoid a subtle color clash between the borders (which would otherwise be slightly bluish white) and white museum board, so that the overmat window can be larger than the image, revealing the signature and avoiding all cropping by the overmat, which would compromise the composition.

• Each print comes with an archival certificate of authenticity in the form of an individually-made sticker applied to the back of the mat, if matted, as well as a duplicate certificate for use after framing, in case framing covers up the original sticker. Unmatted prints also come with both certificates. See a sample sticker here.

• Print history: Though I have also made prints by the gelatin silver, dye transfer and UltraStable pigment transfer processes, I have produced and sold numbered prints in only three media: additive Cibachrome enlarger prints; laser-exposed chromogenic prints; and pigmented inkjet prints. This third medium is likely to remain the best available for a long time to come, despite the rapid pace of technical development in imaging. Of the six media (five in color), most of my prints made to date have been Cibachromes (now called Ilfochromes), most of which were sold by The Nature Company during the late 1980s and early 1990's, when my photographs were far and away their best-selling original artwork. The current prints are dramatically superior in both their quality and their variety, thanks both to my many years invested into digital imaging and the advances of an entire industry.

• All prints are given two unique numbers on the stickers only. The first number is the number of the print in my pigmented inkjet edition and the second is the number of the print in its particular size of the same edition. As mentioned above, some of my images have previously been offered as Cibachromes or as Crystal Archive LightJet, laser-exposed chromogenic prints in separate editions. My prints are inherently rare and are far more limited by the time it takes me to make them than most so-called limited edition schemes would suggest. I do not and will not place limits in advance on particular images because doing so usually amounts to a disingenuous gimmick that benefits no one, at least if the customers have even the vaguest idea of how very difficult it is to make these photographs. I will gladly let you know what the next available number is for any given image, upon request, and how many prints of the image have been made and sold, if any, from the two earlier editions. Many of the images on my site have still never been printed, so very low numbers abound. Just for the sake of comparison, my prints still take a lot longer to make than Ansel Adams' did, and so they are apt to remain far rarer than his, not to mention those photographers who do a considerable business in prints made for them by someone else, and often sold through their own galleries. My prints are made one at a time, and apart from samples for galleries to show, they are only made to order.

• Matting, when supplied, is done archival-style (with T-hinges and photo corners) on four-ply museum board, with a four-ply overmat, which has a reveal to show some of the print border. I am currently avoiding 8-ply overmatting as insurance against excessive print bowing due to static electricity attraction by un-treated acrylic glazing that may be used in framing.

• Prints are only available unframed and they must be framed for display. Please refer to my Framing Recommendations.


Order Details:

• Most but not all prints are made to order and are usually shipped within two to three weeks of your order if I am not travelling. Please inquire if you are in a rush. If you order from a gallery, the print will sometimes go to the gallery first.

• I ship by FedEx 2nd day, except by special arrangement.

• Credit card transactions with me are available through PayPal only, but payment may only be made shortly before a print ships, so this will be by arrangement only. It is easy to create a PayPal account with which you can make a secure payment. Here is how. PayPal can also be used to send me a payment from a checking account. Lastly, you may mail me a personal check, by arrangement.

• Owing to the difficulty of making a print to order and the inherent fragility of photographs, as well as the trickiness of adequately packing them for shipment, I cannot offer a generous return policy, much as I would like to. Of the nearly two thousand prints that I have sold during my lifetime, I am not aware of a single person who was disatisfied with a print of mine, although I do recall one who wished he had picked a lighter one for a dimly lit hanging location, and I swapped that print for him. Please inspect prints upon arrival and unpacking to insure that shipping damage did not occur, especially anywhere on the surface of the image itself. Rolled prints should not be opened up and inspected until on a large, clean table at the framer's, however, because they are too fragile and difficult to handle without kinking. Avoid touching or spitting on the surface, however slightly, in any case. The occasional speck of dust can be removed with very gentle touching with a thin sheet of paper or the folded corner of a soft piece of cotton cloth.


Place an Order:

Contact me directly:

Joseph Holmes
Kensington, California (near Berkeley)
(510) 526-4145, 9 AM to 7 PM Monday – Friday, excluding holidays
E-mail me at this address:

http://www.josephholmes.com

Or contact one of my representatives (alphabetical listing):

The Ansel Adams Gallery
Burlingame, California
(650) 692-3285
Sara Bateman:

http://www.anseladams.com

The Ansel Adams Gallery
Yosemite, California
(209) 372-4413
Glenn Crosby:

http://www.anseladams.com

Art Source L. A.
Santa Monica, California
(310) 452-4411
Francine Ellman:

http://www.artsourcela.com

Capture Fine Art
Healdsburg, California
(707) 431-7030
Frank Dostal
http://www.capturefineart.com

DSA Fine Arts
Beacon, New York
845-838-1020
Dorothy Solomon:

http://www.dsafinearts.com

The Illustrated Light Gallery
Fort Collins, Colorado
877-623-7165
David Clack:

http://www.coloradophotographics.com

The Ordover Gallery
Solana Beach, California (north of San Diego)
(858) 720-1121
Abe Ordover:

http://www.ordovergallery.com

Scott Nichols Gallery
San Francisco, California
(415) 788-4641
Scott Nichols:

http://www.scottnicholsgallery.com

Seltz Art Consulting
Palos Verdes, California (near Los Angeles)
310-378-4229
Catherine Seltz:

no web site

Stellar Gallery
Oakhurst, California (south of Yosemite)
559-658-8844
John Bock:

http://www.stellargallery.com