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Julian Sansum

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The Devil’s Golf Course, Death Valley - Julian Sansum

The Devil’s Golf Course, Death Valley - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   120cm x 30cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 1,200 mm x 600 mm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle PhotoRag 308 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: The Devil’s Golf Course is Death Valley humour used to describe one of the roughest tracts of land I have ever seen. It is bashed up salt pan and rock hard. You really wouldn’t want to fall over on it. This shot was taken near to Badwater Basin and you can just about make it out from the Dante’s View photo. It would be a great place to soak in the desolation and isolation of the centre of Death Valley as shown in this photo. But if I turned merely 90 degrees you would see motorhomes using the spot as a sneaky overnight spot as well as other visitors.

£1,225.00
£1,225.00
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Old Ferrari Mondial - Julian Sansum

Old Ferrari Mondial - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   100cm x 66.7cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 7 1,000 x 667 mm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle William Turner 310 gsm paper with deckle edge and floating mount. Printed using pigment ink from Canon on a Canon printer. In the artists words: A friend of mine owns this lovely blue Ferrari Mondial. It is around 40 years old and apparently the only one of that model in that colour in the UK so he is often asked to take it to shows. I hunted around for a location and settled on the stunning Danesfield House who were happy to let us play around for a few minutes. We were fortunate that the wisteria was in bloom and this contrasts nicely with the car. Unlike some of my photos where I have more artistic licence, I colour matched this photo to the exact colour of the car. The framer suggested a really nice technique. We used the heavyweight William Turner paper and then the printer tore the edges to create a ‘deckle edge’. The framer then float mounted it in a large frame so it looks like it is suspended in the air. I think it looks great and is a different look to the Viper photo.

£1,750.00
£1,750.00
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Wild Viper - Julian Sansum

Wild Viper - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   108.9cm x 74.1cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 7 108.9cm x 74.1cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle William Turner 310 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: The gallery owner had use of this car for a week or so and decided we needed to get a nice picture. We took it out in to the Chiltern Hills and pulled it in to a field that I had found that had really nice yellow crops. Once there I noticed the yellow flowers and decided that would make a better picture so we manoeuvred the car to sit above them. There were some great clouds and I didn’t realise until after that a dramatic cloud had appeared directly over the car. The clouds were moving quickly so we got lucky on a few shots. We decided that this would look better with the sky de-saturated, ie in black and white rather than vivid blue. I also toned down the lemon yellow of the car to create something more moody… The final piece was to print it on the William Turner heavyweight paper. It like cries out menace in this picture.

£1,750.00
£1,750.00
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Red Arrows - Julian Sansum

Red Arrows - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   112cm x 81.5cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 7 112cm x 81.5cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: This was one of those ‘right place, right time’ shots. I knew the Red Arrows were due to fly past Henley during the regatta. I was entertaining guests at Phyllis Court Club but I had half an eye on the scheduled time for the flight. I had packed my camera with an appropriate lens and snuck off from my guests with 15 minutes to spare to try to find a decent spot. I found a slightly raised area that meant I could shoot over the heads of others. I set my camera up with a few minutes to go. Some of the others waiting for the flight started to murmur that flight had been put back a few minutes. I had noticed my battery was only 70% full so thought I might quickly change it when I heard a low rumble coming from down the river. It could have been some old boat but it got louder and then suddenly the Red Arrows appeared over the top of a line of trees in front of me. Reflexively I raised the camera and fired off a bunch of shots at 30 frames per second. Once they went past I spun around and got several more. I had about 10 shots where the Red Arrows fully filled the frame. Apparently it is rare to see the 10th plane in the formation, he often sits to one side. We have blown this up very large and it is about a square metre.

£1,750.00
£1,750.00
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Pink Bricks - Julian Sansum

Pink Bricks - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   A2 42cm x 59.4cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 7 A2+ prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: This is my first derivative from the original Billions of Bricks. I thought the work would look great with a fluoro pink vibe. The framer who had put together the parent work found a frame maker who could create paint effects in specific colours and they were able to enhance one of their hand painted deeply styled black wooden frames with flecks of paint in the same colour as the key areas of bricks.

£2,200.00
£2,200.00
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Abandoned Dodge - Julian Sansum

Abandoned Dodge - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   70.1cm x 49.4cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle PhotoRag Metallic 340 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: We found this sat outside a small café and museum which driving through the American South West. Upon close inspection it appears to be an old Dodge. I had to work hard to find an angle that excluded any modern paraphernalia and took this one crouched nearly on the ground. I used a metallic paper to enhance the old chrome elements and the framer did a great job to really nail down the metallic effect.

£950.00
£950.00
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Rustic Cottage / Rusty Garage - Julian Sansum

Rustic Cottage / Rusty Garage - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   90cm x 45cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle William Turner 310 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: So, is it a garage or a cottage? Clearly it is an old garage but at 0530 in the morning I thought it was a cottage so I christened the print ‘Rustic Cottage’. After framing it is blindingly obvious that it is a garage, even the rusty signs are for car related things! So the first one sold is called ‘Rustic Cottage’ and the rest will be ‘Rusty Garage’! I printed this on the heavyweight William Turner paper. It looks incredible with all the ramshackle things strewn about! The framer pulled out a lovely ‘rustic’ wood that complements the picture.

£1,250.00
£1,250.00
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Old Workshop - Julian Sansum

Old Workshop - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   49.4cm x 70.1cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle William Turner 310 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: We came across this wonderful old wooden building very close to the Hoover Dam. It has been preserved by a local business and as we were there super early for the sun rise no one else was there. I realised there was an opportunity for a sunburst here. There are tiny holes between the planks and I just had to position the camera in the right place. I was close to the building so I could track the star by shuffling my position. I had a little bit of freedom to position myself so I used my 50 mm 1.2 GM lens which creates the best sun stars of any of my lenses. This is printed on William Turner heavyweight Hahnemuhle paper. It gives and incredible antique feel. The framer complimented this by adding a lovely textured wooden frame.

£950.00
£950.00
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Grand Canyon - Julian Sansum

Grand Canyon - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   49.4cm x 70.1cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: I took this photo from Yavapi Point and think it shows the true splendour of the route down from the north rim to Phantom Ranch, which is the green spot with huts you an see in the lower middle of the photo. There had been a snow storm all the way up from Williams / Flagstaff and I think that helped to dampen down some of the dust you would normally expect to see in the air. Many people said that you can’t see clearly very far in the Grand Canyon because of the dust but in this picture the cliffs you can see at the back are at least 20 km from where I was standing. Phantom Ranch is at least 5 km away and about 5,000 feet below where I’m stood. 

£950.00
£950.00
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The Monument Valley - Julian Sansum

The Monument Valley - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   120cm x 30cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 120cm x 30cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle PhotoRag 308 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: Monument Valley is in the heart of the Navajo Nation on the border of Utah and Arizona. It consists of countless fabulous butte formations and has been used in Western movies many times. This photo represents a classic formation and consists of multiple panels stitched together. The final .tif file is over 1 gigabyte in size! I took this photo soon after the Sunrise at the Totem Pole and it suffered from the same sandblasting of my lens so I spent hours fixing it! What a joy… I created this antique look by first converting the image to black and white in Lightroom, exporting it as a .tif file and then doing it again. It creates a look of a photo that could have been taken years ago.

£1,225.00
£1,225.00
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Shiprock at Dawn, New Mexico - Julian Sansum

Shiprock at Dawn, New Mexico - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   114cm x 57cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 114 cm x 57 cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle FineArt Baryta Satin 300 paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: The mighty Shiprock or ‘rock with wings’ is extremely important to the Navajo Nation and is the most prominent landmark in northwestern New Mexico. It is also frequent photographed and typically has wonderful clear skies around it. The advantage of getting out of bed super early means you can see the rock before dawn and wait a while just in case something interesting happens. I claimed a spot well away from the main tourist area because I thought I could bring the left most ridge line in to make a more interesting picture. I then noticed the sky was starting to develop some interesting colours as the sideways light of the very early morning sun interacted with the clouds. I started firing off photos. I focused at multiple different points and tried out lots of camera settings, all with a window of a couple of minutes before the sun rose high enough to stop creating the colours. You have only a couple of minutes, sometimes less, to get the perfect picture. Back home I merged several of the photos and that helped to create a brighter image. I then tested various papers until I got the result I was looking for. The purple frame just adds to the effect.

£1,375.00
£1,375.00
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180 Degree off Shiprock, New Mexico - Julian Sansum

180 Degree off Shiprock, New Mexico - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   114cm x 57cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 114 cm x 57 cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in April 2025 on Hahnemuhle PhotoRag 308 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: What happens when you turn around and face away from a famous photo site… well sometimes you find something very interesting! Shiprock is a frequently photographed site (see separate entry later) and I didn’t want to get a just OK photo like everyone else has taken. So I turned around 180 degrees and was met with this incredible view back across the landscape from the spine on the right that forms the beginnings of the ridge that leads to Shiprock to the rock formations in the far distance that look like boats sailing across the New Mexico landscape. In black and white the grain of the terrain springs out and forms a pleasing pattern falling off from right to left.

£1,575.00
£1,575.00
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Sunrise at the Totem Pole, Monument Valley - Julian Sansum

Sunrise at the Totem Pole, Monument Valley - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   114cm x 57cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 114 cm x 57 cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in April 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: I got up at 4 am, I was meeting our group at the 4x4s at 0430. We were then meeting our Navajo guides at 0500 to take us to an area of rock formations in Monument Valley made famous by the Totem Pole. At 381 feet tall, the Totem Pole is more than twice the height of Nelson’s Column (169 feet). It was climbed by Clint Eastwood in the Eiger Sanction and together with his crew, they are the last group to climb it. As part of the deal to climb, Clint had to agree to remove all pitons and other climbing aids that had been left by others on the rock. We arrived in pitch black – typical for landscape work! We wanted to catch the sun as it rose, which would make a nice picture. I noticed a couple of small holes in the rock to the right of the Totem Pole and wondered if it might be possible to see a sunburst as the sun passed the spot. The sunburst, or starburst, is created when light passes through a small aperture and then bounces around the aperture blades inside the lens. I set my camera so I could see where the brightest area was starting to appear – I assumed that must be the sun – and then positioned myself with camera on tripod to catch the sun breaking through. The group I was with started to move off but I was convinced that a sunburst would appear. I chatted with the Navajo guides and they confirmed that they thought so too. The sun moved up a fraction and one of the Navajo shouted for me to run over to him. I grabbed the tripod with camera on top and ran the 50 yards or so to him. Put the camera and tripod down and immediately started shooting. I had already set the focus before moving and I was far enough away that it would have to do. I managed three shots where the sunburst is visible and then it was gone. The sting in the tail? I think running with the camera caused sand to fly up and get in the lens. I had to spend hours getting rid of sand spots from that photo and the other one shown later of Monument Valley!

£1,575.00
£1,575.00
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Death Valley from Dante's View - Julian Sansum

Death Valley from Dante's View - Julian Sansum

Year:  2025 Medium:  Archival Giclee Print Size:   120cm x 30cm This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 25 120 cm x 30 cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms and other forms of media, including but not limited to online, competitions and books of collections. Released in 2025 on Hahnemuhle PhotoRag 308 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: In the Spring of 2025 I took a trip to the South West of the US. My first destination was Death Valley. I hear a lot about how hot and dry it is in Death Valley. Well when I was there it rained a few times! It was still hot. I think the rain dampened down the dust you often get in the air in these types of scene so made for amazing views. I am stood at Dante’s View to take this photo, the viewpoint is at over 5,500 feet. The white section below is the salt pans – look closely and you will see it isn’t over-exposed. The area at the bottom by is known as Badwater, it’s the lowest point in North America at 282 feet below sea level. The scale in this photo is immense. The mountains on the left are thirty kilometres away. The small town of Furnace Creek in the right foreground is 35 km away. The Grapevine Mountains in the centre are about 80km away. So in the photo we are looking at an area of about 2,400 square km, or just over 900 square miles. That’s roughly the same area as sits within the M25 orbital road around London.

£1,125.00
£1,125.00
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Kaizen Fine Art Gift Card
From £50.00
From £50.00
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Manhattan on Thames

Manhattan on Thames

Year: 2025 Medium: Archival Giclee Print Size: 153.5 cm x 77 cm This Print and this Certificate are each certified through a hologram carrying a unique number.  This Archival Giclee Print is part of a limited edition of 25 153.5 x 77 cm prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms of media, including but not limited to online, competitions and books of collections. Released in March 2025 on Hahnemuhle PhotoRag Metallic 340 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: I hadn’t intended to take this photo. I had intended to take a photo of St Paul’s and the City of London from the viewpoint in Greenwich Park. There are eight protected views of St Paul’s Cathedral in London. These are enshrined in law and are generally small hills where there has been a direct view of St Paul’s for many years. Nothing it allowed to be constructed in front of St Paul’s on the sight line (albeit if you go to Richmond Park you will notice a building was constructed in the Olympic Park area miles behind St Paul’s which does spoil that view somewhat). As I walked towards the St Paul’s viewpoint I couldn’t help but notice the incredible view of the ‘new city’ or the Manhattan on Thames that has been constructed in Docklands. It completely blew me away. I then realised that I could make an interested scene by including the old Royal Naval College, Greenwich, in the foreground. I wanted to blow this up as large as possible and found the metallic paper best showed off the office towers in the background. I took multiple exposures and merged them for the best detail. I stood on the Greenwich Meridian to take this, one foot on either side of the metallic line placed outside the old observatory. I would love to tell you that the whole picture is bisected by the meridian and based on the placement of the line I thought that would be the case, however when I checked the maps it appears the line is misleading and doesn’t point at the centre of my photo, instead it forms a boundary on the right hand side.

£2,850.00
£2,850.00
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Savannah King - Julian Sansum

Savannah King - Julian Sansum

Year: 2019 Medium:  Archival Giclee Print Size:  A2 42cm x 59.4cm, 16.5 x 23.4 inchesThis Print and this Certificate are each certified through a hologram carrying a unique number.This Archival Giclee Print is part of a limited edition of 25 A2 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms of media, including but not limited to online, competitions and books of collections.Released in March 2025 on Hahnemuhle Bamboo 290 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: This is one of my first photos with a proper camera and it predates all the others in this pack. I took it of a lion that approached our vehicle in a private game reserve in South Africa. At first it was a little intimidating to see all these wild creatures roaming around but pretty quickly you could see that they kept themselves to themselves.

£750.00
£750.00
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Billions of Bricks - Julian Sansum

Billions of Bricks - Julian Sansum

Year: 2024 Medium:  Archival Giclee Print Size:  A2 42cm x 59.4cm, 16.5 x 23.4 inchesThis Print and this Certificate are each certified through a hologram carrying a unique number.This Archival Giclee Print is part of a limited edition of 25 A2 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms of media, including but not limited to online, competitions and books of collections.Released in March 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: This is the Ouse Valley Viaduct just north of Brighton. I’m not the first to take a photo here and won’t be the last. However, most photos I had seen were really flat. I wanted to see if it was possible to create a 3D effect where you really get drawn in to the photo. On the day of my visit the weather was terrible. Overcast skies and drizzle. I assumed it would be difficult to get a decent photo. Also there was a large scaffold over about a quarter of the viaduct and I wasn’t sure if that would mess things up too. I tried setting up in numerous positions between different arches and eventually settled for one as far back from the opposite end as possible just in front of the scaffold. This appears to have been the optimum spot. I took numerous photos using various different focus points and camera settings. At home I blended a set of photos that I thought had the most promise and when combined they really popped. Next was to select a great paper. I like the Hahnemuhle range of papers and found the Hahnemuhle FineArt Baryta Satin 300 gsm really helped to bring the colours out and also create a more painterly effect. To finish it off I worked with a framer to create a frame with a 3d pop. With all four elements combined (taking the photo, working on the photo on the computer, printing and framing) it gives a great overall effect. Combine it with the 5th key element, lighting, and you can really lose yourself in the work.

£1,100.00
£1,100.00
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Taking a Long View of the Regatta - Julian Sansum

Taking a Long View of the Regatta - Julian Sansum

Year:   2023 Medium:   Archival Giclee Print Size:   A2 42cm x 59.4cm, 16.5 x 23.4 inchesThis Print and this Certificate are each certified through a hologram carrying a unique number.This Archival Giclee Print is part of a limited edition of 25 A2 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms of media, including but not limited to online, competitions and books of collections.Released in March 2025 on Hahnemuhle PhotoRag Metallic 340 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: This was my first photo that I thought could potentially grace a gallery wall. It took a bit of planning… In the photo you see the Henley regatta course. I decided to take a photo of the qualifying events because there are far more rowing boats on the course. On race day there would be a maximum of four boats in two races on the course at once. I had often stood on Henley Bridge looking down the regatta course in the opposite direction to this. I noticed a hill that appeared to have the full view of the course at the opposite end. I tried getting close to the spot on various footpaths but couldn’t see down the course properly. In the end I found out who the landowner was and asked permission to go on his land. It was lucky that I did because no more than 5 minutes after I got in to position an off road vehicle turned up with a couple of large gentlemen on board who were keen to enquire as to my business being there! The regatta course is a couple of kilometres long and I wanted to create a real sense of perspective. I was standing about two kilometres from the bottom edge of the photo. I tried various lenses and settled on using an 800mm focal length. That has the effect of bringing everything in the picture much closer. I had to take this as a single shot because the boats were moving pretty quickly. The sky was really bright so I ramped up the shutter speed to try to remove some of the glare. It left a really nice painterly feel. Looking at the picture St Mary’s church tower clearly stands out. That’s about 4.5km from where I stood. You will notice a lot of trees that appear to surround the church. If you go and visit Henley there are no such trees anywhere near the church. My working assumption is that they are part of Harpsden woods which is another few kilometres behind the church. So overall I think this picture has a range of say 6-7km. On initial inspection the photo looks like it could have been taken 100 years ago. I have left some clues as to its real age… take a look at the top just in front of the church and you will notice a couple of modern cars!

£750.00
£750.00
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Aurora over Henley-on-Thames - Julian Sansum

Aurora over Henley-on-Thames - Julian Sansum

Year:  2024 Medium:  Archival Giclee Print Size:   A2 42cm x 59.4cm, 16.5 x 23.4 inches This Print and this Certificate are each certified through a hologram carrying a unique number. This Archival Giclee Print is part of a limited edition of 100 A2 prints plus one artist’s proof all signed by the artist. The artist reserves the right to use the image in other forms of media, including but not limited to online, competitions and books of collections. Released in March 2025 on Hahnemuhle FineArt Baryta Satin 300 gsm paper. Printed using pigment ink from Canon on a Canon printer. In the artists words: On 10 May 2024 I received a WhatsApp from a friend. An aurora was forecast over the south of England. Now I get quite a few of these and they generally turn out to be nothing so I had low expectations when I pulled out various apps that seek to forecast this type of event. Well, the apps were very positive and the aurora was expected to be strongest from 2330-0030 so it wasn’t too late and it was a Friday so I thought it was worth a try. Getting a photo of an aurora is one thing but it can be much more powerful if you can have something recognisable in the photo. Temple Island on the Thames in Henley is really beautiful. I realised that the aurora was forecast to be in the west so if I stood on the east bank of the Thames I had a chance to get the Temple in the foreground and the aurora in the background. I wandered down the river just after 2300 and headed for Temple Island. I noticed that the Temple was lit up. I hadn’t expected that and it would likely mess up the photo because I would need a slow shutter speed to capture the aurora at it’s best but if I did that the lights would be so bright as to overwhelm the Temple. I could see the aurora overhead and a mess of colours and took a couple of quick sighting shots. As a landscape photographer you learn to take a few photos quickly when the light is good because it can change really fast. The shots were OK but not great. I then really stared at the aurora and, as my eyes adjusted and I walked further down the river, I noticed that the aurora appeared to be pointing down at the Temple. By carefully moving a few steps to the side I could hide all but one light from the picture. The lights were still causing a few issues but the aurora was so bright that I only used a 1 second exposure and this was enough to pull out the colours. On the computer we were able to dampen down the lights a bit and give the overall impression that it is the aurora lighting the Temple. The reflection on the calm river was a bonus. If you look really closely you see some white specs. They are not dust on the lens or photo but stars. The evening was super clear. I’ve checked the star charts and I think the big dipper is visible through the aurora directly above the Temple.

£750.00
£750.00
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