Wildlife fine art photographs can be ordered direct from my website
And not just wildlife; landscape fine art photographs, and seascapes also. I am continually adding to the photographs you can buy as prints direct from my website, as wall art for home or office.
Okay, so what are the steps? How do I buy fine art prints?
So I thought it might be useful to break down the steps, from selecting and image all the way to getting the final print delivered. So the first thing is to head to https://www.colinmunroimages.com. I use one of the best professional print houses in California for my printing and delivery. If you live in the UK or Europe, heade over to www.colinmunrophotography.com to check out my fine art prints produced in the UK.
Currently I use professional photolab Bay Photo Lab, in Santa Cruz, California, USA, as my primary print producer. I consider them one of the best print labs in the US, with a long history of supplying exceptional quality prints and an excellent service to professional photographers. If you use the automated ssyetm on my Colin Munro Images website (detailed below) the prints will be made and delivered by Bay Photos. They are also part of the Monterey Bay Area Green Business Programme, and actively working to minimise their environmental footprint. They will also ship internationally. If you are outside the US the shipping will be calculated on my website (see example below).
How can I buy fine art photographs if I am not in North America?
I also use excellent printers in the UK, and Bangkok, Thailand. If you are in Europe or Asia, please email me with the photo code, the print style and the size, and I will arrange for it to be delivered from either UK or Bangkok. If you are elsewhere in the World, and would really like to buy one of my images as a fine art print, drop me an email and we’ll see what I can work out. (My www.colinmunrophotography.com site showcases my fine art photographic prints printed in the UK).
Clicking on the Buy Photos button will take you to the next screen, where you will have the option to chose between Wall Art and Digital Downloads.
So, let’s assume you are looking for a photography to have on your wall, maybe a framed canvas print or acrylic on metal or an aluminium print.
So let’s say you chose Acrylic Metal. The sidebar will change to a menu of sizes and prices. As you scroll up and down you will see also that the highlighted area of the image will change as the aspect ratio of the size selected changes.
And the process is pretty much the same which ever media you select.
At the next screen you will be able to change the selected area of the image to be made into the final print. The white border can be cropped in or moved out, or re-positioned (depending on the aspect ration chosen).
You will then proceed to the checkout process, where you also have the option to chose the currency.
The next screen allows you to submit your billing information. You can chose to pay with most major credit cards, or with PayPal.
Hopefully that’s fairly straightforward. Don;t forget, you can always email me with queries about prints if I haven’t answered your question here.
I think wildlife photography technique is often best discussed through examples. Orca are hugely impressive animals. They have come to symbolise power, intelligence, grace and – sometimes – ferocity. Often known as killer whales, largely due to the way they would attack harpooned baleen whales, or harry and gradually wear down larger whales in a similar fashion to wolves on land, they are in fact large dolphins. Few of us will not have seen the BBC footage of orca powering on to beaches in Peninsula Valdes in Patagonia to grab unwary elephant seals. The power of these animals is quite awe-inspiring. Large individuals may weigh up to 11 tonnes, and females may life to be at least 80 years old. We now think of orca as a highly variable species, or species complex, with up to nine different types recognised. Advances in science may eventually split these into sub-species, or possibly separate species.
I took this photograph a few miles off the coast neat the southern tip of New Zealand South Island. We were sailing from Stewart Island, the small, rugged island to the south of South Island, heading towards the city of Dunedin. It was a perfect evening in mid-November, summer in the southern hemisphere, around 8.30pm. The sun was already almost touching the horizon, creating deep shadows in the troughs of the ripples pushed along by the light breeze. The orcas approached our bow from the northeast, then passed close by on our port side. This was going to be the best shot I would get, before he disappeared towards our stern. However the low sun was directly behind him, casting his curved back and giant dorsal fin almost in silhouette. I had a couple of seconds to decide. I could ramp up the camera ISO and expose my shot to bring out the details on the orca’s back, but doing so – shooting straight in to the sun – would blow out all detail in the water around him, or… I could do the opposite. I could aim for silhouettes and shapes, patterns and texture on the water. If this were a studio shot it would be termed ‘low key’; but of course this was not a studio, there would be no posing, no running around with a hand held light meter, no test shots. I dialled down the ISO, ramped up the shutter speed, quick check of the viewfinder light meter …. focus… and click, click, click. And that was it. I watched as the dorsal fin slipped beneath the water, to reappear several minutes later, far behind us. The sun was dipping beneath the horizon, and the light was gone.
I find wildlife photography is often like this. Animals don’t appear on cue, they don’t appear when you’re standing waiting with your camera gear all set correctly, they don’t appear in the right place or the right conditions and often they don’t allow you time to think through your choices and your settings. This is where practice and experience comes in. After years of taking shots in all sorts of conditions, you learn to instantly recognise situations, and dial in settings almost with muscle memory. Not that you can ever become complacent. Camera technology is constantly improving; that means that the rules that you automatically followed three years ago may no longer be the best way. Advances in technology may mean that the settings you used last year may now be improved upon by turning them on their head. So successful wildlife is a continual process of learning, practice, relearning, practice..repeat. Wildlife photography technique is not simply a question of reading a manual, or a blog like this; like every art, in the end it comes down to practice and learning from what doesn’t work as much as from what does.
Fine art prints of this orca photograph
The orca picture shown here is one of my images I have selected to make available as fine art prints. It can be ordered directly from my www.colinmunrophotography.com website here.
Prints if you are in North America
If you live in the USA or Canada, These prints can be ordered directly from my www.colinmunroimages.com website. They are available as fine art prints, and on a range of other media, stretched canvas, canvas wraps, flat canvas, dye-infused aluminium prints and acrylic on alumimium in a range of sizes and crops. They can be ordered directly from my website colinmunroimages.com. Default printing is my Bay Photos professional fine art printers in California.
An account of photographing blue sharks off Cornwall, Southwest Britain, a few years back, and a link to buying blue shark fine art prints of these amazing hunters of of the oceans at colinmunroimages.com.
On a clear July morning I stumbled out of my bunk (I was living on a boat at the time) at 5.30am, forced out my the insistent buzzing of my phone alarm. One hour, and one strong coffee later, I squeezed my dive bag into the back of Ritchie’s car and we were off. We had over a hundred miles to cover, and a boat to catch.
Charles Hood runs the best, and most successful, blue shark snorkelling operation in the UK. His boat, a large rigid-hulled inflatable (RIB) operates out of Penzance, almost at southwesternmost extremity of the British mainland, so that’s where we were headed. The boat is a fast open boat, perfect for getting us 10 miles offshore quickly, but small and devoid of any shelter from the elements. So we changed in to wetsuits on the quayside, packed our camera gear in dry bags carefully padded with towels and sweatshirts for the bouncy ride out, and we were off.
Each year blue sharks arrive off the coast of Southwest Britain, normally sometime in mid-June and remaining until mid-October. Blues are true oceanic sharks; they inhabit deep water, only infrequently venturing on to shallower, continental shelf waters. They are found in tropical and temperate oceans around the globe. However, in the tropics they tend to stay in deeper, cooler water but are often observed in surface waters in temperate seas. They feed on fast moving prey such as squid and schooling fish. Much of their feeding appears to be done in deeper waters. We know this partly from studies looking at gut contents, identifying the hard tissue remains of the prey species, and knowing where those prey species live, and partly from small data loggers, recording depth profiles, that are attached to sharks and then recovered at a later date. Below 100 metres, it seems they predate mostly on squid, in particular those belonging to the Histioteuthidae family, more commonly known as cock-eyed squid. Cock-eyed squid are bizzare creatures that inhabit the twilight zone of the oceans, so-called because their left eye is around twice the size of their right. Observations with deep water remotely operated vehichles (ROVs) have shown that they swim with the left eye facing upwards, and the right facing down. It’s believe the the huge left eye is used to pick up the faint sunlight coming from far above; the smaller right eye, staring into the depths, serves a quite different purpose. It picks up bioluminecent glows and flashes from prey (or predators below). But blue sharks are not fussy eaters. Studies off the coast of Brazil have found they eat large numbers of oilfish (a deepwater member of the mackerel family) but will also sometimes grab seabirds such as shearwaters. Those off Southern Brazil were found to be mostly scavenging on dead baleen whales. But I have digressed somewhat from our trip. Some ten nautical miles out Charles stopped the RIB and allowed us to drift. Sure we were a fair way from shore, and in pretty deep water, but still well within continental shelf depths, probably 50-70 metres, as we drifted. The 100 depth contour was still over 20 miles distant. So what tempted the blues, normally oceanic species, this close inshore? As we drifted Charles began to prepare the chum bag that hopefully would draw nearby sharks to our boat. A small hessian sack was filled with chunks of mackerel and mackerel guts, including some caught angling off the stern of his RIB. Tied just off the side of the RIB, a slick of fish oil drifted away down current. This is the clue to why blue sharks arrive in coastal waters of southern and western Britain. Mackerel also arrive around British coasts during the summer months, often found in huge shoals numbering thousands of fish. Like their deeper water relatives, the oilfish, mackerel are an oily fish, so a high energy food source for any predator fast enough to catch them. And the blue shark is just that; generally a sedate swimmer it can move with lighting bursts of speed.
Once our bag of chum was positioned, and final checks on cameras completed, all we then had to do was wait. Charles dug out his fishing rod and started supplementing our chum supply with a few extra mackerel. And we waited. There was no wind, and just a slight, rolling swell on the sea. The sun was hot and the sky a clear blue, so it was not extactly a hardship. The sun climbed to its zenith, then slowly fell westward as morning gave way to afternoon. We were woken from our torpor when, around 2pm, a group of three sunfish drifted close. Sunfish are odd-looking disc shaped fish. They feed on There was a flurry of activity as we grabbed cameras and donned fins, but they were skittish and disappeared in seconds. We settled back in to watching and waiting. At around 3.30pm Charles announced that we should start heading back to shore at 4pm. The minutes ticked by; 4pm arrived and still no blues. Charles apologised but, as we were well aware, there is never any guarantee with wildlife. He announced we would give it another 20 minutes. At 4.15 the first blue arrived. Rather than leap in immediately, we gave it time to settle and get used to the boat. A couple of minutes later a second arrived. Charles had been very clear on the safety aspect, wearing gloves, no shiny jewellery. The necessity for this was made abundantly clear when one of the sharks managed to grab to chum bag. Its razor sharp teeth ripped through it like paper, and bits of mackerel guts spilled out into the water. The bag was quickly quisked out of the sea and we gave it a minute for the cloud to disperse. Once Charles was confident the sharks were no longer likely to disappear immediatly, we, one by one, slowly slide over the side of the boat and in to the water.
Once in the water I dipped my head to check all around me, then slowing finned away from the RIB. Once around 8 metres away I stoppped finning, and started checking around. I could clearly see my three companions at this stage, floating 5-10 metres away from me. Every so often a shark would cruise in, swimming below or between us, to to check out us or the RIB. The water was clear, visibility a good 15-20 metres, but the sun was now low in the sky. When the sun is overhead, and light hits the waters’ surface more or less perpendicular, then much of that light penetrates the surface; but late afternoon, when the sun is low and its rays hit the water at a shallow angle then most of that light bounces off the surface and it becomes markedly darker just below than above. My photographic problems were two-fold. The reduced light levels made focussing a little trickier, and when a blue shark came fast out of the expanse of blue water, the camera would struggle to pick up contrast and focus quickly. I fiddled with the settings, pre-focussed using my colleagues as targets, fired off test shots and again readjusted my settings. All the time keeping looking around me. A RIB, with its large surface area above the water, will drift with wind and tide, but a swimmer, around 90% below the water’s surface, will drift with the tide alone. So as I floated I was aware that the distance between was growing. This was not a concern; conditions were perfect and I knew Charles would be fully aware of our positions. On the contrary, it gave me space around me. As I drifted I also became aware that one of the sharks had become interested in me, and was moving with me, not steadily but zig-zagging. It would pass close, then swim off , to turn and pass close again.
This was not in a threatening or aggressive manner, but rather one of curiosity. A couple of times it would swim straight towards me, only to stop maybe 18 inches in front of me. Whether it was seeing reflections in the large glass dome port of my camera housing I am not sure. Whatever the reason it provided me with more perfect photo oportunities than I could have hoped for. Thirty minutes passed in what seemed like three, and Charles was recalling us to the RIB. We may have had to wait, but performace at the end far exceeded our expectations.
Fine Art Prints
I have made two of my images from this trip available as fine art prints and wall art. These are available to be purchased in a wide range of media and sizes directly from my Colin Munro Images website. Media available include traditional giclée prints, stretched and flat mounted canvas, metal prints (dye directly infused on sheet aluminium) and acrylic, from 8 inches up to 48 inches across. My prints are produced by Bay Photo Labs in Santa Cruz, California. I choose bay Photo Labs for the excellence of their quality, with over 40 years providing printing services to professional photographers, their constant innovation, combining the latest technology and innovation with the finest traditional techniques, and their committment to the highest environmental standards using green technology. You can buy my prints directly here at www.colinmunroimages.com.
How can I buy fine art photographs if I am not in North America?
I also use excellent printers in the UK, and Bangkok, Thailand. If you are in Europe or Asia, please email me with the photo code, the print style and the size, and I will arrange for it to be delivered from either UK or Bangkok. If you are elsewhere in the World, and would really like to buy one of my images as a fine art print, drop me an email and we’ll see what I can work out. (My www.colinmunrophotography.com site showcases my fine art photographic prints printed in the UK. You can also buy prints directly).
I am slowly moving my marine biology orientated blogs to my other blog site: www.marine-bio-images.com/blog. I may eventually remove them from this site. This article can now be found here.