Thank you for visiting Mostly Wildlife Photography. This page answers the questions visitors ask most often about the gallery, the prints, and the photographs themselves.
The Status of the Gallery
Mostly Wildlife Photography is no longer an active commercial studio. The art-show schedule has ended, print sales have concluded, and the photo tours that once ran to Churchill and beyond are no longer offered. The website remains online as a permanent home for the photographs and the stories behind them — a gallery in the truest sense, open all hours, admission free.
Common Questions
Can I still buy a print?
No — print sales have ended, and there are no plans to reopen them. The prints page describes how the original matted and framed prints were made, and offers care advice for collectors who own them.
Can I use a photograph from this site?
The photographs in this gallery remain the copyrighted work of their photographer. They may not be reproduced, sold, or used commercially. Students and educators are welcome to reference the images and field stories for classroom and study purposes with attribution to Mostly Wildlife Photography. For anyone seeking licensed wildlife imagery for publication, reputable sources include conservation organizations and the major natural history stock collections; the Smithsonian Open Access program is an excellent free starting point.
Where were these photographs taken?
Each photograph's page lists its location and the story of how it was made. The short answer: Yellowstone country and the northern Rockies for much of the North American wildlife; Churchill, Manitoba for the polar bears; the Antarctic Peninsula and the emperor colonies further south for the penguins; Kenya and Tanzania for the African work; and England, Ireland, France, Italy, Mexico and Tibet for the travel images in the gallery.
What equipment was used?
Most of the wildlife work was made with 35mm SLR systems and long telephoto lenses — typically 400mm to 600mm, often with a teleconverter — from tripods, vehicle windows, tundra vehicles and, more than once, flat on the ground in the snow. The travel and landscape images favored shorter lenses and better weather. The honest answer, though, is that the equipment mattered far less than the hours: the best lens in the world cannot photograph a wolf that patience has not found first.
Is the gallery still being updated?
The collection you see here is complete. It represents the photographs that meant the most across thirty years of field work — the ones people stopped for at the shows, and the ones that were simply too well-loved to leave out.