Cederberg Reflections
Cederberg Reflections
"Cederberg Reflections" - There are landscapes that announce themselves with grandeur, and there are those that ask us to become still enough to notice what lies within them. "Cederberg Reflections" belongs to the latter. In the quiet of the early morning, a dark mountain rises heavily from the left side of the frame, its deep shadow forming a natural arrow that draws the eye towards the light beyond. In contrast, the landscape opens into a brighter world where acacia-height trees stand quietly along the edge of a still dam, their forms reflected across the water.
A gentle breeze moves across the surface, disturbing the reflection just enough to prevent it from becoming perfectly still. Small water lilies are scattered across the dam, adding delicate interruptions to an otherwise restrained composition. The relationship between shadow and light gives the image its visual tension: darkness occupies the left side, while approximately two-thirds of the scene opens towards the brightness of the morning. It is a landscape of contrasts, but also of balance.
The reflection is central to the photograph. What appears above the water is returned below it, though never quite identically. The breeze alters the surface, softening and reshaping the trees, sky and surrounding landscape. What we see is therefore both a place and its interpretation—a reminder that reflection is never merely about appearance. It can reveal, distort, conceal and ultimately invite us to look more closely.
This image was photographed using a Gibellini GP 810 large format camera with a CF 8×10 to 4×10 film insert, exposing Shanghai GP3 black and white film. The 4×10 panoramic format allows the landscape to unfold horizontally while retaining the presence and discipline of large format photography. Shanghai GP3 brings a distinctive character to the negative, allowing the deep shadows, illuminated landscape and subtle movement across the water to become a study in tonal relationships rather than colour.
The decision to photograph this scene in black and white is deliberate. Without colour to define the landscape, attention is drawn towards light, form, texture and reflection. The dark mountain becomes almost sculptural against the brighter morning, while the trees and their reflections create a quiet visual dialogue across the water. The image depends upon the space between these elements—the darkness that leads towards light, and the reflection that leads the viewer back towards the self.
Proverbs 27:19
"As in water face reflects face, so the heart of man reflects the man.
The words from Proverbs provide the heart of the photograph. The water does more than mirror the landscape; it becomes a metaphor for the inner life. Just as the face is revealed in the surface of the water, the heart reveals something of the person. The reflection may be disturbed by the slightest movement, yet beneath the ripples the image remains present.
There is something quietly profound in that relationship. We often look outward to understand the world around us, but reflection turns the gaze inward. The landscape becomes a mirror—not because it tells us what we want to see, but because it asks what we recognise in what is before us.
The deep shadow on the left and the illuminated landscape beyond may therefore be read as more than a compositional device. Darkness and light coexist within the same frame, while the water holds both in reflection. The photograph becomes an invitation to consider what our own lives reflect when the surface becomes still enough to reveal it.
"Cederberg Reflections" is a quiet meditation on reflection, contrast and the nature of the heart. Created through the deliberate process of large format analogue photography, it offers a landscape that rewards patient observation—where shadow leads towards light, water returns the world to us, and the act of looking becomes an opportunity for reflection.
This is a signed and embossed Open Edition print.
Price range: $1 050.00 through $1 350.00
Cederberg Reflections
Cederberg Reflections
"Cederberg Reflections" - There are landscapes that announce themselves with grandeur, and there are those that ask us to become still enough to notice what lies within them. "Cederberg Reflections" belongs to the latter. In the quiet of the early morning, a dark mountain rises heavily from the left side of the frame, its deep shadow forming a natural arrow that draws the eye towards the light beyond. In contrast, the landscape opens into a brighter world where acacia-height trees stand quietly along the edge of a still dam, their forms reflected across the water.
A gentle breeze moves across the surface, disturbing the reflection just enough to prevent it from becoming perfectly still. Small water lilies are scattered across the dam, adding delicate interruptions to an otherwise restrained composition. The relationship between shadow and light gives the image its visual tension: darkness occupies the left side, while approximately two-thirds of the scene opens towards the brightness of the morning. It is a landscape of contrasts, but also of balance.
The reflection is central to the photograph. What appears above the water is returned below it, though never quite identically. The breeze alters the surface, softening and reshaping the trees, sky and surrounding landscape. What we see is therefore both a place and its interpretation—a reminder that reflection is never merely about appearance. It can reveal, distort, conceal and ultimately invite us to look more closely.
This image was photographed using a Gibellini GP 810 large format camera with a CF 8×10 to 4×10 film insert, exposing Shanghai GP3 black and white film. The 4×10 panoramic format allows the landscape to unfold horizontally while retaining the presence and discipline of large format photography. Shanghai GP3 brings a distinctive character to the negative, allowing the deep shadows, illuminated landscape and subtle movement across the water to become a study in tonal relationships rather than colour.
The decision to photograph this scene in black and white is deliberate. Without colour to define the landscape, attention is drawn towards light, form, texture and reflection. The dark mountain becomes almost sculptural against the brighter morning, while the trees and their reflections create a quiet visual dialogue across the water. The image depends upon the space between these elements—the darkness that leads towards light, and the reflection that leads the viewer back towards the self.
Proverbs 27:19
"As in water face reflects face, so the heart of man reflects the man.
The words from Proverbs provide the heart of the photograph. The water does more than mirror the landscape; it becomes a metaphor for the inner life. Just as the face is revealed in the surface of the water, the heart reveals something of the person. The reflection may be disturbed by the slightest movement, yet beneath the ripples the image remains present.
There is something quietly profound in that relationship. We often look outward to understand the world around us, but reflection turns the gaze inward. The landscape becomes a mirror—not because it tells us what we want to see, but because it asks what we recognise in what is before us.
The deep shadow on the left and the illuminated landscape beyond may therefore be read as more than a compositional device. Darkness and light coexist within the same frame, while the water holds both in reflection. The photograph becomes an invitation to consider what our own lives reflect when the surface becomes still enough to reveal it.
"Cederberg Reflections" is a quiet meditation on reflection, contrast and the nature of the heart. Created through the deliberate process of large format analogue photography, it offers a landscape that rewards patient observation—where shadow leads towards light, water returns the world to us, and the act of looking becomes an opportunity for reflection.
This is a signed and embossed Open Edition print.
Price range: $1 050.00 through $1 350.00
Print Information
The Cameras
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Every photograph begins with the camera it was created on. Whether captured on traditional photographic film or a modern digital camera, every image is produced with the same commitment to craftsmanship and authenticity.
Film negatives and transparencies are personally developed by hand before being professionally scanned and prepared for printing. Digital photographs are captured in RAW format and carefully processed to preserve the original scene rather than alter it.
Large Format
Shen-Hao 4×5
4×10
5×7
8×10
Korona 7×17
Pinhole Cameras
Medium Format
Baby Rolleiflex
Yashica 44
Yashica Mat 124
Pentax 645N
Mamiya 645 1000S
Pentax 6×7
Fuji GX617 Professional
Various panoramic roll-film systems
35mm
Nikon F5
Nikon F6
Digital
Nikon D800E
Nikon D4
Nikon D5
Fujifilm GFX100
The Collections
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Every collection represents years of exploration, patience and careful craftsmanship. Some photographs are captured digitally, while others originate on traditional photographic film.
Film photographs are developed by hand before being scanned using professional equipment. Digital RAW files receive only careful tonal and colour refinement, preserving the integrity of the original photograph.
Collections are available as either Open Editions or Limited Editions, depending on the artwork.
The Triptych Collection Sizes
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Triptych Size Guide
For Triptych Collection artworks, the selected size applies consistently across all three panels.
In compositions where the side panels are portrait and the centre panel is landscape, the selected size refers to the maximum height of the artwork. For example, when A3 is selected, the two portrait side panels are produced to the A3 long dimension, and the centre landscape panel is scaled proportionally to match that same height.
Where all three panels are landscape or all three are portrait, the selected format remains consistent throughout the set — A0 is A0, A1 is A1, A2 is A2 and A3 is A3. Sizes are not mixed between panels.
Available Triptych Collection sizes: A0, A1, A2 and A3.
The Editions
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Limited Editions
Limited Editions are permanently restricted to 25 prints worldwide, regardless of the size or medium selected.
Once the edition has sold out, no additional prints of that artwork will ever be produced.
Signing & Numbering
Every Open and Limited Edition print is individually signed, embossed and accompanied by a Certificate of Authenticity.
Each print is hand-numbered—for example: 10/25
This indicates the tenth print produced from a total edition of twenty-five.
The Photographic Process
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Many CFP Prints artworks begin with traditional photographic film.
Each negative or transparency is developed by hand using carefully selected chemistry before being professionally scanned for printing. Every stage of the workflow is managed with the objective of faithfully reproducing the original photograph rather than digitally transforming it.
Every photograph represents a real moment, captured through experience, patience and light—not artificial intelligence.
The Printed Medium
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CFP Prints is produced exclusively on museum-quality Hahnemühle FineArt media.
Hahnemühle Cézanne Canvas
A 430 gsm, 100% cotton canvas offering exceptional colour depth, fine detail and long-term archival stability. Its natural matte surface makes it ideal for gallery-quality presentation.
Hahnemühle Photo Rag® Matt Baryta
A 308 gsm, a natural white, 100% cotton paper with a traditional barium sulphate coating. This paper offers rich blacks, luminous highlights, and refined surface texture. It is acid- and lignin-free, with certified age resistance.
Certificate of Authenticity
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Every CFP Prints artwork is accompanied by a Certificate of Authenticity (CoA)—a signed and embossed document that formally certifies the originality, provenance, and technical details of the artwork.
Issued with both Limited Edition and Open Edition works, the certificate confirms that the artwork was produced exclusively by CFP Prints using museum-quality archival materials and professional printing standards.
Collectors, galleries, and institutions are encouraged to retain the Certificate of Authenticity with the artwork at all times. It forms an important part of the artwork’s provenance and assists in verifying authenticity for resale, exhibition, insurance, and archival cataloguing.
Caring for Your Print
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Every CFP Prints artwork is produced using museum-quality archival materials designed to provide exceptional longevity when properly cared for.
To help preserve the beauty of your artwork for generations:
- Avoid prolonged exposure to direct sunlight or strong reflected light.
- Dust gently with a soft, dry microfibre cloth or soft artist’s brush. Never use household cleaners, solvents, or abrasive materials.
- Display or store your artwork in a dry, temperature-controlled environment, away from excessive humidity or heat.
- Canvas prints are protected with a professional matte archival varnish and may be gently cleaned with a soft, slightly damp cloth when necessary.
With appropriate care, your CFP Prints artwork will retain its richness, detail, and archival quality for many years.