CURRENT EXHIBITION RUNS UNTIL 22 MARCH 2019
Rituals of Intimacy
Aled Rhys Hughes
Our first Collection show, in which we will be displaying annually a selection of the work by photographers we represent, looks at the practice and process of film photography.
This Collection is a unique opportunity to see photographs spanning 50 years, from John Blakemore's Sunrise, made in 1968 in North Wales, his first Welsh landscape, to Peter Cattrell's 2018 work around Machynlleth and Borth. It is a chance for the photography enthusiast and collector to come face to face with photographs by acknowledged masters who are still using film.
Exhibition prints are the very best work the photographer can achieve, the result of many years of dedicated study and personal exploration of the medium.
All of the prints in this exhibition are for sale.
Ffotogaleri y gofeb has the privilege of representing Pete Davis in Wales and our current exhibition features 10 of his fine silver/gelatin and platinum/palladium prints. He has worked and taught in the field of photography since the 1970s, including 18 years at the University of Wales, Newport as senior lecturer and then course leader. His 2017 retrospective at the National Library of Wales / Llyfrgell Genedlaethol Cymru, encompassed the entirety of his photographic work, which has taken him and his large format camera around the British Isles, Europe and the USA on various projects, but he is best known for his landscape work, both colour and black and white. He has many stories to tell about hauling his camera up mountains and through forests, and that work is represented here, but this is also an opportunity to view and understand more about his most recent still-life work of plant seed-heads grown and gathered from his own garden.
Pete Davis is a meticulous craftsman. Of the Platinum /Palladium process, where there is no other option for photographers using the process than to master it themsleves, he writes: “the only way to make platinum prints is for individual photographers to prepare the sensitising chemistry themselves and individually hand-coat quality papers prior to contact printing them from specially prepared negatives. The tonal range of the material is longer than conventional silver-based emulsions and requires the photographer to visualise the final image in a very different way from making a conventional black and white photograph.”
Pete Davis notes the mix of the sensitizing chemicals he has used along the edge of each of his platinum prints - as in IRIS #8, 2019