How we work

In the field

Every frame here was made standing in the place it shows. The place on the label is the place; the date is the date. Most of our night work is done in the San Rafael Swell, the Great Basin, and the high desert between them, usually at an hour and a temperature we'd rather not discuss.

In the edit

Brian will spend a whole evening on a frame that took four seconds to take, trying to get the file to look like the thing we actually stood in front of. Night skies are often stacked from several exposures made in the same place, on the same night, with the same camera, so the stars are sharp and the noise is gone. Modern tools do the heavy lifting on noise and lens correction. What we won't do is manufacture a place we were never at. If you ask how a frame was made, you'll get the real answer, including the unglamorous parts.

In the print

Prints are made to order by NMFA on museum-grade paper, ChromaLuxe metal, and TruLife acrylic. Before anything goes to them we check the crop, the file, and the size against the frame you chose. If it won't hold up at that size, you hear from us first.

Studio work

Alongside the photography we make a small studio line — colouring pages drawn from our own photographs and transformed digitally. It's labelled as studio work wherever it's sold and never appears in these galleries. The first is Garden Color Studies, Vol. 1. The tracing and the paper-art studies are made with generative tools, directed and reviewed by us.