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About

Me

Photo | David Spiegelberg

My love for Nature and Landscape Photography was born in the spring of 1990 on a trip to Zion National Park in Utah. With rented 35mm camera gear and little knowledge of how to use it, I was able to capture a few really nice images. More important than the images, was the joy I felt capturing them.

I was so moved by my experience that I decided to take photography classes at a local community college. I took two semesters of black and white photography and one semester of color. I also built my own "in-home" black and white darkroom. In addition, I started doing free-lance work, including basic commercial work, events, portraits, and weddings. I found the free-lance work to be satisfying to some degree, but nothing like the satisfaction and enjoyment I felt when out in Nature. After a few years the free-lance "gig" began to wane, but I continued shooting Nature and Landscape photographs, and loving it.

In 1998 I decided to start marketing my work at local Arts and Crafts Festivals. My first show, the fall Tempe Festival of the Arts in Tempe, Arizona, was not great as far as sales were concerned, but doing the show, meeting people, and having them appreciate my work, gave me motivation to do more. I also realized I needed to do my own matting and framing, so I rented some inexpensive office space and put together a small mat and frame shop. Over the next ten years I did 12-14 shows a year in the greater Phoenix and Tucson areas. By 2006-2007, annual sales had grown dramatically and I was realizing a decent profit.

When the economic recession hit starting in 2008, I, like so many other artists, began feeling the effect. I made the decision to stop doing shows and pursue another career. For the next few years I did some local shooting, primarily in the spring. In early 2013, "itching" to do more serious work, I "geared up" with high-end digital equipment.

I still marvel at and feel a deep connection with the work of "Mother Nature", whether it’s a delicate cactus blossom or the way light plays on a landscape. There's a lot of photography still inside of me, so stay tuned!

My work encompasses the Western United States, with a focus on Arizona and Colorado. My work is a mix of scenic landscapes and close-up work of flowers, blossoms, and all types of flora.

I’ve had my work published in Arizona Highways calendars (2004, 2005, 2006, and 2007). I’ve also had two images published in the fall 2006 issue of Nature’s Best magazine, both of which received a "Highly Honored" distinction in the Nature's Best 2006 International Photography Awards.

When it comes to my work I'm a perfectionist and my own worst critic. This is one of the reasons I made the move to 4x5 large format. Images shot on 4x5 film can be enlarged to print sizes of 40x50 and larger with little or no loss of edge detail (if you've seen work like this before you know what I mean). Now that I'm shooting exclusively higher-end digital (Nikon D800E RAW), I can acheive very similar results by shooting multiple frames and stitching them together in PhotoShop.

I started shooting a 35mm Nikon FM2 film camera back in 1990 and eventually acquired a Nikon N8008 as a second camera. In the late 1990’s I decided to make the jump to 4X5 large format, so I purchased a K.B. Canham DLC45 and four Rodenstock lenses (90mm, 120mm macro, 150mm, 210mm) which I shot exclusively for about 10 years. I bought my first digital camera, a Canon G10, in 2010. In early 2013 I purchased a Nikon D800E and four Nikon lenses (16mm-35mm, 50mm, 70mm-300mm, 200mm macro).

If you've browsed the image galleries, you may have noticed that images come in quite a few different sizes - this is due to cropping. How an image is cropped is a key factor in how it looks to the viewer. Generally speaking, I crop tight, and I try to eliminate any part of the image I feel detracts from, or takes the eye off of, the main subject. I make every effort to crop to a standard size (8x10, 11x14, 16x20, 20x24, 20x30, 30x40, 40x50, 40x60, and 48x72), but sometimes an image just doesn't "fit" into a standard size. If you purchase a Print Only and you plan on having it matted and/or framed, or if you need an image to be an exact size, this is an important consideration, and here’s why.

Let’s say you purchase an 8x10 Print Only. The dimensions of the paper on which the image is printed is exactly 8x10, but the actual printed image area might be slightly less depending on how the image is cropped. This means the image may have thin white borders on two opposing sides. This is not a problem if you have the image custom-matted and/or framed, but if you purchase a standard size pre-cut mat and/or a standard size frame so you can "do-it-yourself", the white borders will show. If this is your plan and you’re concerned about the fit, or if you have any questions or concerns about sizes or cropping on any image, please contact me for assistance before you purchase.

Also, please note that standard sizes are not all proportional "as is", regardless of how an image is cropped. For example, an 8x10 is proportional to a 16x20 and a 40x50, but not proportional to an 11x14, a 20x24, a 20x30, and a 30x40. This means that a standard size image that fits perfectly onto an 8x10 sheet of photo paper (full-bleed with no white borders) will not fit perfectly onto an 11x14, a 20x24, a 20x30, or a 30x40 without some cropping, and thin white borders will show on two opposing sides.

Finally, keep in mind that I often have different crop versions of the same image, so I may be able to adjust the crop to fit the exact size you need. Again, if you’re unsure, please contact me for assistance.

PRINT ONLY
• 60 year archival Fuji Crystal Archive or Fujiflex Crystal Archive (depending on stock)
• Digital artist signature (and edition number on prints 11x14 and larger) in lower right corner of print
• Advantages: you can mount, mat, and finish/frame the print to your liking
• Disadvantages: additional time and cost required to mount, mat, and finish/frame the print
MATTED
• Print is pressure-mounted on 3/16-inch foam board
• Double or triple acid-free/acid-neutral mats
• Artist signature on mat surface (other information when space available)
• Advantages: classic photographic look, glass (after framing) protects the print from the elements
• Disadvantages: glass reflection (after framing), sometimes difficult to match mats and frames to your décor
LAMINATED
• Print is pressure-mounted on ½-inch gator board or ¼-inch masonite
• Finished with a lustre (low-gloss) protective laminate with UV protection
• Museum Back affixed to the back of the mounting board which makes the finished piece appear to float out from the wall
• Frameless
• Advantages: little or no reflection, fit more easily into specific color schemes and décors
GALLERY WRAP
• Giclee on canvas print is stretched over a 1.5-inch wooden frame
• Image wraps around frame edge
• Frameless
• UV spray protective laminate
• Advantages: contemporary, "painted" look, no reflections, lower cost
All prints come with a signed Certificate of Authenticity.
All prints are numbered, and all prints 11x14 and larger are limited edition.
For Gallery Wraps (giclee on canvas), please be aware that 1.5 inches of the image appears on the sides of the wooden frame (the image wraps around the edges) - this is what makes a Gallery Wrap suitable for hanging without a frame. If you want ALL of the image to appear on the top surface (with bare canvas showing on the sides), please contact me directly so I can submit a special order.

I also sell my images as stock images in digital form. Stock images are purchased for a specific type of use, and that use is limited to the agreement you sign at the time of purchase. If you’re interested in purchasing stock images, please contact me so we can discuss your needs.

In order to help you determine the correct size piece for your wall space, I do no-obligation proportional computer mockups. A computer mockup is a small computer drawing, which I do on the computer, drawn to scale, based on your wall space dimensions and the particular image or images you're interested in. Because the mockup is proportional, it gives both of us a great visual on how a particular size piece will look in your wall space, before you purchase.

When I've completed the mockup, I send it to you via e-mail so you can view it on your computer screen. If you view the mockup and tell me the size isn't right, I do another mockup with a different size piece, or several mockups with various size pieces, until we find the right size piece for your wall space.