These photographs are presented by Steve Parish, Australia's best known and most highly accomplished photographer. Each print arrives with a certificate of authenticity ensuring the integrity of the print. The certificate will register, date and locate the photograph.

Steve Parish prints are Giclée prints, printed on archival quality paper by a high-resolution digital printer.

When viewing your Steve Parish Photographic Print, it is worth noting that all light sources, external light and coloured, reflected light influence the visual appearance of your print, which will appear different, depending on the mix and quality of the viewing light. Limited Edition Prints are produced under a colour temperature evaluation of 5000K.

The best method for displaying your print is to hang the your print in an area that is never hit with direct sunlight. It is recommended that prints be displayed in tungsten lighting, ideally with 75-watt (75R30/FL) or 150-watt (150R/FL) internal reflector flood lamps. Installing a dimmer switch on the display light lets you adjust the intensity for greatest effect and print longevity. Quartz halogen and fluorescent lamps are NOT recommended unless a UV filter, such as Plexiglas UF-3, is placed over the fixtures.

For maximum enjoyment of your fine art print, display your framed piece in an area that allows for people to stand back and take in the entire image.

Photographic prints can be affected by excess in surrounding conditions (light, temperature, humidity and air pollution). Professionally framing your Steve Parish Photographic Print offers protection and enhances the presentation of the image. Hanging your framed print out of direct exposure to sunlight or heating appliances will ensure a lifetime investment in your artwork. To extend the life of a print on display, keep the room as dark as possible when not in use.

These GUIDELINES will hopefully help extend the life of your Steve Parish Photographic Print.

Your Steve Parish Photographic Print must be handled carefully to avoid fingerprints, etc on the face of the print. Handle the print only by the outermost edges and take care not to dent the paper in any way. Having checked your print on arrival, return it immediately to the cylinder to keep it safe until such time as it will be framed.

On delivering the print to your chosen framer, open the cylinder with him to check the print condition and discuss the framing issues. The print must be securely mounted on board to ensure it does not lift under the glass. The backboard should be as smooth a surface as possible to avoid a stipple being seen on the print.

We suggest using neutral mats except in the case where you wish to draw a particular colour from your image to suit furnishings. See the décor demonstrations for a visual aid.

We advise you to find a reputable commercial framer who has the expertise and equipment to correctly mount your valuable image. They will be able to advise you on the best solution for framing your image, if you are unsure.

The images you are looking at represent the printed photograph. The computer monitor gives you a first impression of the picture quality: lightness, contrast, sharpness and colour balance, but all monitors display colour differently and none of them display colour that will match the colour exactly to our printed image. Please remember that the printed image is of the finest quality and will surpass anything you will ever see on a computer monitor.

We aim for the image to represent the reality but by the time scanning, compressing, formatting and lightening for the web has occurred combined with the variables of your monitor settings, there may be some difference between the photograph and what you see. We have made every effort to make the images as close a representation as possible for your enjoyment and perusal.

The photographs displayed in this exhibition were all taken with 135 and 120 format cameras. All of the animals, plants and underwater photographs were taken with Nikon 135 (35 mm) cameras and all of the landscapes were taken with either Mamiya 120 or Fuji GX617 medium format cameras in formats of 6 x 7 and 6 x 17 cm. The film stock used to produce most of the images has been either Kodak's Ektachrome V and VS ISO 100 or Kodachrome ISO 64 and Fujichrome Astia ISO 400, Provia ISO 100 and Velvia ISO 50 film stocks. I rarely use filters, except for lens-protecting UV.