mountain goat walking along the edge of a mountain ridge, Greater Yellowstone, Wyoming

Greater Yellowstone, Wyoming

The Long Walk

We went back for them. The goats had been the high point of the morning, and after we’d made it down to Red Lodge for lunch — and the best sticky toffee pudding I’ve had anywhere — we drove back up over the pass to see whether they were still around.

They were, or one of them was. This is the younger billy again, east of the boulders where we’d found the group earlier, out on the edge of the ridge where the ground drops away hard. Twin Lakes sits in the valley behind him, a long way down.

The wind up there was ferocious. We were dressed for summer in Yellowstone and this is not that; at elevation, with that much wind, it was genuinely uncomfortable to stand in, and you could watch it drag at what was left of his winter coat as he walked into it.

We followed him until he went over the ridge and out of sight. Then we ranged out for a while looking for the rest of the group. We both swore we could hear a young goat bleating somewhere below us. We never found them.

Two frames, stitched by hand.

Nikon Z 7II · Sigma 150-500mm · 200mm · f/5.3 · 1/500 sec · ISO 64

Limited Edition Print

Available as a limited edition fine art print, produced on demand in four finishes. Full sizing and materials are on the prints page.

Editions & certificates

The Long Walk is a signature image. It is released in an edition of 25 rather than 50, across every size and finish combined, at a 25% premium over the standard release price.

Each image is released as a limited edition of 50 — that's 50 pieces total, across every size and every finish combined, not 50 of each. When an edition closes, that image is retired and never offered as a print again. A few signature images are released in smaller editions.

Outside that count, I keep one Artist's Proof of each image for myself. It's occasionally available by private request, at a premium.

Every piece is numbered and comes 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.

As an edition sells down, the price steps up. The earliest pieces of an edition carry the lowest price.

Full details on The Prints page →

Request a quote

Every piece is made to order. Choose a size and finish and I'll confirm availability, the price in effect for that edition, and timing.

Buying for a client? See the trade program.

Which finish should I choose?

Lumachrome Face-mounted to TruLife acrylic

The deepest, most luminous finish I offer. It's especially suited to backlit scenes, where the glow comes about as close to the real light as a print can get. Arrives ready to hang.

Best for: Deep color, dramatic light, anything you want to stop people in their tracks.

Chromaluxe Dye-sublimation on aluminum

The most durable finish, with color that reaches beyond what standard prints can show, so bright scenes, water, and big skies come off the panel. Arrives ready to hang.

Best for: Bright scenes, water, snow, big skies. Also the most durable option.

Supralume High-gloss canvas on aluminum composite

Canvas texture with the fine detail and deep blacks of a gloss print. Arrives ready to hang.

Best for: Texture and detail — rock, bark, forest, anything intricate.

Fine Art Paper Canson Infinity Rag Photographique, 310 gsm cotton

100% cotton rag, hand-signed, and shipped unframed for your own framer.

Best for: Quieter work, black and white, and anyone with a framer they trust.

Full details on The Prints page →

No payment now — I'll reply with confirmation and next steps.

Prefer email? hello@jeradrainesphotography.com

Frame 6 of 81

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