Everything worth asking
before you buy.

Me — and my wife Megan. There's no gallery, no sales team, and no dashboard between us. We handle every order personally, from your first question through to the day the piece arrives on your wall, and we're happy to spend as long as it takes getting it right.

Yes, and I'd rather be specific about how than hide behind "lightly retouched." Every place, subject, and element in my photographs is real, photographed by me, at that location. What I never do is borrow — no skies imported from another place or another day, no stock elements, nothing added that wasn't in front of me.

Within a single shoot I do blend frames. If the sky was at its best at blue hour but the land didn't light properly until golden hour, I'll combine exposures from that same spot on that same morning into one image. A camera records a single instant; standing somewhere for two hours doesn't work that way, and the second thing is what I'm actually trying to give you. I'm not making a documentary record — I'm reproducing how a place felt to be in.

I've written more on where I draw this line in Photographs Are Not Documents, if you want the fuller argument.

Mostly Nikon — currently a Z 7II and a Z 9, with a good deal of the older work made on a D850 and a D7200. A handful of frames are drone or medium-format. Every photo page on this site lists the exact camera, lens, and settings for that image, if you're the sort of person who likes to know.

Sometimes. If there's a place you have a connection to and you'd like a piece made there, tell me about it — I can't promise a specific location or condition on a schedule, but it's a conversation I'm glad to have.

It depends on the image and the room more than on price. Lumachrome acrylic has the most depth and luminosity and suits work with real tonal drama; Chromaluxe metal is crisp and durable; Supralume gives a subtler surface; and fine art paper is the quietest and most traditional, and the only one I sign by hand. The Prints page covers all four in detail, and the guide to choosing a medium goes deeper on what each one actually does to an image — or tell me the image and something about the room, and I'll tell you honestly what I'd hang there, even if it's the cheaper option.

Almost everyone goes smaller than they should. A good starting point is filling roughly two-thirds to three-quarters of the usable wall width, and standing back to where people will actually view it from. Panoramic images want a long, low wall — above a desk, a couch, or a bed. The guide to sizing a print walks through the full method with examples. If you tell me the wall's measurements and how far back the room lets you stand, I'll give you a specific recommendation.

Yes, and I'd encourage it. Email me a photo of the wall at hello@jeradrainesphotography.com — taken straight on, with something in frame for scale like a couch or a doorway — along with the image you're considering, and I'll put together a mockup at a couple of sizes so you can see it in the actual room before deciding anything. If it's easier, just send me a note first and I'll reply so you can attach the photo to that. In the meantime, the sizing guide has a free way to get a feel for scale yourself — taping the outline on the wall before you order anything.

Yes, quoted individually. Not every image has the resolution or the composition to go to any size — and I'd rather tell you that than sell you a print that doesn't hold up. If a standard size doesn't suit your wall, ask and I'll work out what's possible.

The standard sizes run to 48 × 72 inches, with panoramic formats up to 30 × 90. Beyond that, it's image-by-image and quoted by hand — some files have the resolution for a genuinely enormous piece and some don't.

Between $195 and $6,000 depending on size, format, and finish. Every release price is published on The Prints page — no hidden tiers, no request-a-quote wall. If you're wondering why, the guide to what prints actually cost breaks down what the price is buying.

Because I print with labs and processes at the high end of what's available, and the finished pieces show it: the detail holds up at any distance, the color is rich but accurate, the Lumachrome acrylic has a depth that standard prints don't come close to, and the Chromaluxe metal can hold a wider range of color than standard printing. The acrylic, metal, and Supralume pieces also arrive float-mounted and ready to hang, so the price already covers what you'd otherwise spend on a custom frame and glass, and shipping to the lower 48 is included. If you'd like to keep the cost down, fine art paper starts at $195 and is printed from the same file with the same care, ready for the framer of your choice. There's more on how each finish holds up on The Prints page.

It means 50 pieces total for that image — across every size and every finish combined, not 50 of each. When an edition closes, the image is retired and never offered as a print again. A few signature images are released in smaller editions. The guide to what a limited edition means covers this in full, including how to tell a real edition from a marketing one.

Outside the edition of 50, I keep a single Artist's Proof of each image for myself. It's occasionally available by private request at a premium — ask if you're interested in one.

Yes. Every piece is numbered and ships with a matching signed and numbered Certificate of Authenticity. Paper prints are signed by hand before they ship; the face-mounted pieces travel straight from the lab to you, so the certificate carries the signature rather than the panel.

Yes. As an edition sells down, the price steps up — the earliest pieces of an edition carry the lowest price. The prices published on the site are release prices, which apply to the first ten pieces of a 50-piece edition. After that the price rises in steps of 10%, 20%, 35%, and 50% above release, and your quote confirms the price in effect for that image.

Yes. I have a trade program for design professionals: trade pricing for approved accounts, scaled mockups of each piece on your wall, help choosing images and sizes, and delivery direct to the project site. Apply on the trade page with your firm name, a website or portfolio, and one proof of trade status (a resale certificate, ASID or IIDA membership, or a business license). Once you're approved I'll send the rate sheet and terms. If you'd like to see the work first, the trade lookbook is a PDF you can download and share with clients.

Email me from any photo page or the contact page with the image, size, and finish you're considering — or just a description of the wall if you're not sure yet. I'll confirm the details and send an invoice. Nothing is mass-produced and nothing sits in a warehouse: each piece is made when it's ordered.

Allow roughly 3–4 weeks from order to delivery, depending on size and finish — nothing is sitting in a warehouse, so the clock starts when your piece goes into production. Larger and crated pieces sit at the longer end of that range. I'll give you a specific estimate when you order, and I'll tell you if anything slips.

Shipping is included on every price on the site for delivery anywhere in the lower 48. Alaska, Hawaii, and US territories are welcome too — most sizes ship at no extra cost, but the largest pieces travel crated and sometimes need a freight quote, so ask me first and I'll confirm before you commit to anything. International orders are handled case by case: get in touch and I'll work out freight and customs for your country up front.

I replace it — that's my problem, not yours. Everything ships insured and packed for it, but please open and inspect your piece within 48 hours of delivery and email me photos of both the packaging and the damage if anything's wrong. That window isn't me being difficult; it's what the shipping insurance requires in order to cover the replacement.

Talk to me first — genuinely. Every piece is made to order for you, so there's no shelf to put one back on, but there's also no reason for you to end up with something you don't love. That's exactly why I'd rather help you pick the size and finish, and send you a mockup on your own wall, before anything goes into production.

If something still isn't right when it arrives, contact me straight away and I'll do what I can to solve it. If we can't, a piece can be returned within 30 days in as-received condition, shipped back in the original or equally protective insured packaging, with return postage and a 20% restocking fee covered by the purchaser.

The Lumachrome, Supralume, and Chromaluxe pieces arrive float-mounted and ready to hang — no frame, no glass, no glare, and nothing to assemble. Paper prints ship unframed so you can frame them your way. If you'd rather a piece arrive finished, tell me about the wall and I'll quote a custom frame.

Avoid hanging anything in direct sunlight — that's the one thing that shortens the life of any print. Otherwise the face-mounted pieces need nothing but an occasional wipe with a soft, dry cloth. For paper, specify UV-filtering glazing and a cotton rag mat when you frame it and it will outlast the person who framed it. The guide to lighting artwork at home covers fixture angle, distance, and color temperature if you want to get it right.

Yes. Editorial, commercial, and interior-design licensing are all available — get in touch with what you have in mind and I'll sort out the details.