Blue Sky Fence
King Edward Park
Newcastle, Australia.
‘She opened the flap of the pack that held her tattered picture. She had made it many years ago with her first camera (a then-treasured Pentax). It had lots of bright Australian blue sky, and in the bottom right-hand corner of the frame was a white picket fence caught by winter’s afternoon sun.
Though the picture didn't show it, the fence guarded against the lure of a cliff and the long fall to rocks licked by the Pacific Ocean.
She remembered ‘seeing’ that picture before she raised the camera to her eye. That was when she knew she could translate her feelings into a reality she could show to others, even if they didn't always get it.
She chose to show a lot more sky and just a little fence. Other cameras might look over the cliff’s edge to see the drama and danger of the rocks and waves below. She preferred to look out at that blue, blue sky and, with the press of the shutter, made the photograph that helped her decide to leave and find other skies.’
Excerpt from the short story ‘Over the Fence’ inspired by this picture.
#0004 #shotonfilm
King Edward Park
Newcastle, Australia.
‘She opened the flap of the pack that held her tattered picture. She had made it many years ago with her first camera (a then-treasured Pentax). It had lots of bright Australian blue sky, and in the bottom right-hand corner of the frame was a white picket fence caught by winter’s afternoon sun.
Though the picture didn't show it, the fence guarded against the lure of a cliff and the long fall to rocks licked by the Pacific Ocean.
She remembered ‘seeing’ that picture before she raised the camera to her eye. That was when she knew she could translate her feelings into a reality she could show to others, even if they didn't always get it.
She chose to show a lot more sky and just a little fence. Other cameras might look over the cliff’s edge to see the drama and danger of the rocks and waves below. She preferred to look out at that blue, blue sky and, with the press of the shutter, made the photograph that helped her decide to leave and find other skies.’
Excerpt from the short story ‘Over the Fence’ inspired by this picture.
#0004 #shotonfilm
King Edward Park
Newcastle, Australia.
‘She opened the flap of the pack that held her tattered picture. She had made it many years ago with her first camera (a then-treasured Pentax). It had lots of bright Australian blue sky, and in the bottom right-hand corner of the frame was a white picket fence caught by winter’s afternoon sun.
Though the picture didn't show it, the fence guarded against the lure of a cliff and the long fall to rocks licked by the Pacific Ocean.
She remembered ‘seeing’ that picture before she raised the camera to her eye. That was when she knew she could translate her feelings into a reality she could show to others, even if they didn't always get it.
She chose to show a lot more sky and just a little fence. Other cameras might look over the cliff’s edge to see the drama and danger of the rocks and waves below. She preferred to look out at that blue, blue sky and, with the press of the shutter, made the photograph that helped her decide to leave and find other skies.’
Excerpt from the short story ‘Over the Fence’ inspired by this picture.
#0004 #shotonfilm
‘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.
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