Liquid Light #27
The Liquidity of Light.
Sometimes, I dream of a picture and then work out the technicalities of making it. I don’t always match the vision. I am more often surprised by what happens when I let light bounce around in my camera. This magic can occur when photography and my dream time mix.
Sandstone outcrops form an island dividing Balmoral Beach in Sydney, Australia. While I lived there for a decade, the island and its rocky shoreline were familiar to my cameras. They are often featured as part of broader landscapes. This dream required a more intimate conversation with this well-trod place. I wanted the camera to find what my imagination was searching for.
In October 2012, washed by the dawn light, I suspended the camera by its strap and stepped across the rock shelf, dodging the deeper holes, slippery seaweed, and larger waves.
The camera floated millimetres above the small waves washing around my feet. A swinging camera, long exposures, and golden light worked together and against each other. Water, stone, and seagrass melted into surreal, flowing sculptures.
Later, in my digital darkroom, I worked with the raw pixels to recreate my dream's colour, light, and mood. This was not to be a straightforward process.
I got close and was 'happy' with the initial results, but I was not satisfied. Over the next ten years, I revisited the images, sometimes tweaking them, and other times starting all over.
Prompted by someone new to my work, I looked once more at light from a decade ago. This time, I am satisfied—at least for now.
I incorporate movement into a lot of my photographs. Exposures, many minutes long, surround immovable objects with blurred water and clouds.
This series goes a step further. Everything is moving. There is no point of sharpness; there is only the liquidity of light.
Every picture I have made encapsulates the essence of my story. Whether it is intricate details, obscure abstracts, or expansive vistas, each piece is unique. The artistry in my archival, museum-quality prints is crafted to evoke emotion and capture moments in time.
This Limited Edition is available in two sizes, with a maximum of five prints plus up to two Artist Proofs.
The Liquidity of Light.
Sometimes, I dream of a picture and then work out the technicalities of making it. I don’t always match the vision. I am more often surprised by what happens when I let light bounce around in my camera. This magic can occur when photography and my dream time mix.
Sandstone outcrops form an island dividing Balmoral Beach in Sydney, Australia. While I lived there for a decade, the island and its rocky shoreline were familiar to my cameras. They are often featured as part of broader landscapes. This dream required a more intimate conversation with this well-trod place. I wanted the camera to find what my imagination was searching for.
In October 2012, washed by the dawn light, I suspended the camera by its strap and stepped across the rock shelf, dodging the deeper holes, slippery seaweed, and larger waves.
The camera floated millimetres above the small waves washing around my feet. A swinging camera, long exposures, and golden light worked together and against each other. Water, stone, and seagrass melted into surreal, flowing sculptures.
Later, in my digital darkroom, I worked with the raw pixels to recreate my dream's colour, light, and mood. This was not to be a straightforward process.
I got close and was 'happy' with the initial results, but I was not satisfied. Over the next ten years, I revisited the images, sometimes tweaking them, and other times starting all over.
Prompted by someone new to my work, I looked once more at light from a decade ago. This time, I am satisfied—at least for now.
I incorporate movement into a lot of my photographs. Exposures, many minutes long, surround immovable objects with blurred water and clouds.
This series goes a step further. Everything is moving. There is no point of sharpness; there is only the liquidity of light.
Every picture I have made encapsulates the essence of my story. Whether it is intricate details, obscure abstracts, or expansive vistas, each piece is unique. The artistry in my archival, museum-quality prints is crafted to evoke emotion and capture moments in time.
This Limited Edition is available in two sizes, with a maximum of five prints plus up to two Artist Proofs.
The Liquidity of Light.
Sometimes, I dream of a picture and then work out the technicalities of making it. I don’t always match the vision. I am more often surprised by what happens when I let light bounce around in my camera. This magic can occur when photography and my dream time mix.
Sandstone outcrops form an island dividing Balmoral Beach in Sydney, Australia. While I lived there for a decade, the island and its rocky shoreline were familiar to my cameras. They are often featured as part of broader landscapes. This dream required a more intimate conversation with this well-trod place. I wanted the camera to find what my imagination was searching for.
In October 2012, washed by the dawn light, I suspended the camera by its strap and stepped across the rock shelf, dodging the deeper holes, slippery seaweed, and larger waves.
The camera floated millimetres above the small waves washing around my feet. A swinging camera, long exposures, and golden light worked together and against each other. Water, stone, and seagrass melted into surreal, flowing sculptures.
Later, in my digital darkroom, I worked with the raw pixels to recreate my dream's colour, light, and mood. This was not to be a straightforward process.
I got close and was 'happy' with the initial results, but I was not satisfied. Over the next ten years, I revisited the images, sometimes tweaking them, and other times starting all over.
Prompted by someone new to my work, I looked once more at light from a decade ago. This time, I am satisfied—at least for now.
I incorporate movement into a lot of my photographs. Exposures, many minutes long, surround immovable objects with blurred water and clouds.
This series goes a step further. Everything is moving. There is no point of sharpness; there is only the liquidity of light.
Every picture I have made encapsulates the essence of my story. Whether it is intricate details, obscure abstracts, or expansive vistas, each piece is unique. The artistry in my archival, museum-quality prints is crafted to evoke emotion and capture moments in time.
This Limited Edition is available in two sizes, with a maximum of five prints plus up to two Artist Proofs.
‘I make photographs to hang on walls and be appreciated for lifetimes. The soft texture of these bright white papers is integral to how I want you to see and ‘feel’ my work.’
Foley Fine Art Prints are supplied with a signed Certificate of Authenticity. They are expertly crafted to ensure archival quality on Ilford Prestige Galerie Smooth Cotton Rag or Hahnemühle Photo Rag heavyweight paper. The paper size allows for a 20mm white border, but as I treat each scene individually, different pictures may have bespoke crop or form factors.
Australia-wide delivery is free via trackable courier, fully insured for damages. Please allow 14-21 days for production and delivery.
For Australian-based clients, framing options include dry-mounting your giclée print to an acid-free 5mm foam board with an archival adhesive film. This is then placed in a hand-crafted shadowbox frame made from FSC-certified Australian timber, protected by durable 3mm museum-grade plexiglass. The frame is finished with framer’s tape and stainless steel hanging wire.
You can purchase securely with Stripe, PayPal, Apple Pay, and Afterpay. Stripe accepts Visa, MasterCard, and American Express, while PayPal also accepts Visa and MasterCard.
Damaged or lost artwork: Contact me within 48 hours with pictures if you receive damaged artwork or the shipment is lost. I’ll replace the edition free of charge if possible. If not, I’ll refund you.
Please contact me with any questions or special requests.