Richard Gaston captures a rare shot of two white Highland ponies on one of the Isle of Harris’s famous remote white beaches. The motion conveyed in the machair grass and the horse’s manes, captures beautifully the stormy, yet alluring conditions found in the Outer Hebrides of Scotland.
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Richard Gaston captures a rare shot of two white Highland ponies on one of the Isle of Harris’s famous remote white beaches. The motion conveyed in the machair grass and the horse’s manes, captures beautifully the stormy, yet alluring conditions found in the Outer Hebrides of Scotland.
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Part of the Blue Flowers series, Pine branch and Seeds was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Pine branch and Seeds was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Blackberry Branch was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Blackberry Branch was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch II was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch II was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch I was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of the Blue Flowers series, Branch I was part of a solar printing project created by Liesl Pfeffer during a residency in rural Australia. Foraged native plants and seeds were used to print silhouettes of these organic materials using cyanotype solar printing.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
Part of Liesl Pfeffer’s ongoing project, To See The Moon Fall From The Sky (2016-) Pfeffer has a passion for exploring time and indexicality (the physical relationship between the object photographed and its resulting image). The works in this series depict celestial objects such as stars, moons and planets. Pfeffer uses light from the Sun in the exposure of cyanotype photograms using drawings and sunlight to cast shadows on light-sensitive paper, so that the photograph records a trace—or index—of its subject.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful sea fan washed up on the shores of this tropical island.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful sea fan washed up on the shores of this tropical island.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful sea fan washed up on the shores of this tropical island.
This ephemeral series from printmaker, Jo de Pear focuses on the cyanotype process using the strong UV light of the Caribbean sun on the island of Antigua. Armed with secateurs, she forages the island for a diversity of fauna and flora to adorn her creations such as this beautiful sea fan washed up on the shores of this tropical island.
Shot in Tinos Island, Greece - during what photographer Ellie Tsatsou calls her ‘favourite golden hour’. The view of ships approaching harbours is quite vividly engraved on the photographers memory from her time growing up in Greece and her island travels. This shot perfectly captures that ethereal, peaceful feeling of a late summer evening.
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Shot in Tinos Island, Greece - during what photographer Ellie Tsatsou calls her ‘favourite golden hour’. The view of ships approaching harbours is quite vividly engraved on the photographers memory from her time growing up in Greece and her island travels. This shot perfectly captures that ethereal, peaceful feeling of a late summer evening.
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Shot at the Green Marble quarry in Tinos island, Greece. Whilst appearing as though it is an aerial landscape view, it is actually a close up shot of the marble surface with detail of the paths and texture the stone creates when broken open. Learn More
Shot at the Green Marble quarry in Tinos island, Greece. Whilst appearing as though it is an aerial landscape view, it is actually a close up shot of the marble surface with detail of the paths and texture the stone creates when broken open. Learn More
