Traditionally, the fine print has been the end, or at least the end product, of the photographic process. I confess that in my photographic life I have generally avoided making and selling prints—until recently. This is because traditional darkroom prints of color images never satisfied me. Whether Cibachrome, or any other process, earlier color prints never equalled the tactile quality of black-and-white darkroom prints, and never matched their archival longevity. Worse yet, traditional color printing never came close to capturing the saturation, contrast range, and vividness of my original Fujichrome transparencies.


All that has changed with the coming of age of fine digital printmaking. The quality I've dreamed of for years is actually here. After some intensive work and study with my friend and mentor, Bill Atkinson, I am now finally able to make, exhibit and sell prints that meet my own absurdly high standards.


(Bill Atkinson, by the way, is perhaps the most accomplished color photo printer today and a brilliant nature photographer in his own right. I think of Bill as the Ansel Adams of the color photographic print. You can see a rich sample of his remarkable work at WWW.BILLATKINSON.COM)


The portfolios on this web site are just the tip of the iceberg, but they constitute tightly related visual stories that I love to present together. Other images, from my earlier books and from my image files, are also available as prints.



I now create archival pigment prints on archival watercolor-type paper. This combination produces the richest, deepest and and most satisfying color prints I have yet seen. The paper is a beautiful 300 grams-per-square-meter sheet, specially treated to receive and hold pigment inks. This paper is quite heavy, a real delight to hold in the hand, and the slightly matte surface is an exciting departure from conventional high-gloss photo papers, such as Cibachrome, which I have never liked.


Because of the unusal look and presence of this paper, I have chosen to print my images on larger sheets of paper, allowing a generous border around the photograph — my standard size print is a 12 by 18 inch image printed on 24 inch square paper. I personally love framing and presenting my rectangular images in this square format, as it makes it easy to display and enjoy both vertical and horizontal images together in a harmonious way.


In a sense, these are self-matting prints. I prefer to exhibit them without any overmatting, in simple silver-grey frames with no glass, or else under "museum glass," a wonderful if somewhat expensive solution because museum glass is crystal clear and has no reflections whatever.






My preferred size for most prints is a 12 by 18 inch image printed on 24 by 24 inch paper. These are open-edition, not limited edition prints. The price for this size print is $300 plus shipping.


My prints are signed and printed with my seal, an antique Tibetan signature chop. All prints I sell are digitally prepared, fine-tuned and printed by me personally, on my own Epson 9600 UltraChrome pigment printer — not by a commercial lab.


Larger sizes are also available, up to 20 x 30 inches, or larger. And occasionally I create folio sets of smaller images to be viewed and enjoyed together.  But I find that my standard print size, 12x18 on 24x24 paper, provides an intimate yet dramatic viewing experience. To download a price list of  different sized prints, just



Shipping will be charged separately. Print orders can take up to a month (if I am traveling) but will usually be delivered in a couple of weeks. Please call my assistant, Diane Hoffman, at her Sedona office, toll-free at

1 800 333 5178, to place your print order

My prints can currently be seen

at the following galleries:



in Bishop California

This wonderful gallery was created by my friends Galen and Barbara Rowell and was the site of my two-month show OTHER PATAGONIAS last year. This show presented a collection of forty prints from my recent explorations of Chilean and Argentinian Patagonia. To read the essay I prepared about this show, and its curious title, please visit the Essays section of my web site.




in Crestone, Colorado



in Solano Beach, California (near San Diego)



I know it is something of a stretch to buy a fine-art photograph after having only seen a small image on a computer screen. I too prefer to look at framed prints on a gallery wall. For this reason, all my prints are sold with a no-questions-asked, money-back guarantee. If you are not totally delighted with the print I send you, just ship it back for a full refund.


Thanks,   Linde


P. S. I also know that many collectors and lovers of photography are still coming to terms with the arrival of digital prints. Some even wonder if a digital print should really be considered a true photograph, given the potential to radically tweak, manipulate and modify an original photographic image on a computer...


For me, however, digital printmaking is merely a means, the very best means yet, to accurately translate my images onto paper. I treasure the special magic of the photographic moment — whether the photo is recorded on film or digitally — and the integrity of the image produced. I don't even use filters when I photograph, nor do I ever introduce artificial elements into my original images when I prepare them for digital printing.

W E S T E R N   E Y E   /  L I N D E   W A I D H O F E R

 Box 2, Crestone Colorado 81131 USA       phone / fax 719 937 7761

© 2008–2014 Linde Waidhofer. Unauthorized reproduction prohibited