Iceland, 2018

Iceland is so raw, so geologically angry and so unique that a visiting artist is
truly tested to do it justice. On location, intense cognitive processing is
required to examine how best to convey the enormity of the visuals that greet
the eye throughout daylight hours. The shorter the distance between the brain
and the eye, the greater the chance of working towards an image that is as
awesome as the location. I think we may have finally achieved our goal. I am
very happy with this image.
I have been fortunate enough to visit Skogafoss waterfall many times over the
years and I am in no doubt that it offers the best opportunity for a creative
narrative of any of Iceland’s numerous waterfalls. It may not be the widest, or
most thunderous, but the immediate foreground is the most easily accessible.
From the riverbed below, the visual is dramatic and clean. This is “Game of
Thrones” country and from the right angle – and I have explored most of them
over the years – it is perhaps the finest backdrop I know in Europe.
Prior to 2018, I have, for various reasons, never nailed the preconceived image.
The main reason being that it is technically and logistically a challenging
assignment and I have not been good enough. It is a real test of balancing
working distance against lens choice and I have made a few errors in the past.
The smaller the lens, the better. It is always the case even if the spray from the
waterfall soaks both you and your gear.
An issue with filming in Iceland is that whilst permits are easy to obtain,
exclusivity is not. Waterfalls such as Skogafoss will not normally be closed off
to the public if filming is taking place. As a result, the only time to have
exclusivity there is before the tourists arrive in their droves, which is normally
from 8 am onwards. But in the early morning, the waterfall, which is tucked
tightly into the cliffs, is always in shadow and often a good two stops of
exposure darker than the open areas 200 yards away.
There are always compromises here. On this occasion, we were able to work
longer into the morning as the high winds had prevented many tourists from
taking days trips from Reykjavik. Nevertheless, it was still fairly dark, so I knew
my depth of field would be marginal but as long as the subject matter is sharp, I
think this actually helps the image. I don’t think I have ever taken a picture
before in which the subject is less than 1% of the image and yet everyone’s eye
is immediately grabbed by that one point. That was always my intention. I have
had this image in my mind for a few years. I could just never get a beautiful
horse in the right position at the right time. It is a beautiful horse – we chose
well.

Digital Pigment Print on Archival
315gsm Hahnemuhle Photo Rag Baryta Paper
Frame included
Hand signed and numbered on the front by the artist
Includes a Certificate of Authenticity

Available Sizes (Framed Size)
Large: 96″ x 71″ (244 cm x 180cm)
Standard: 69″ x 52″ (175 cm x 132 cm)

Available Editions
Large: Edition of 12
Standard: Edition of 12