But Y
Namibia is known for its diverse landscapes, including the Namib Desert along its Atlantic coastline, which is one of the oldest deserts in the world, as well as the Kalahari Desert in the east. The country is also home to the Fish River Canyon, one of the largest canyons in the world, and Etosha National Park, renowned for its abundant wildlife, including lions, elephants, rhinos, and giraffes.
Habakkuk 3:17-19
Though the fig tree may not blossom,
Nor fruit be on the vines;
Though the labor of the olive may fail,
And the fields yield no food;
Though the flock may be cut off from the fold,
And there be no herd in the stalls—
Yet I will rejoice in the Lord,
I will joy in the God of my salvation.
The Lord God is my strength;
He will make my feet like deer’s feet,
And He will make me walk on my high hills.
Sossusvlei is a salt and clay pan located in the southern part of the Namib Desert, in the Namib-Naukluft National Park of Namibia. It's characterised by its large, red sand dunes, with names like Dune 45, Big Daddy and more. Some of which are among the highest in the world, reaching up to 300 meters tall. The name "Sossusvlei" refers specifically to the salt and clay pan surrounded by these towering dunes, but also associated with the surrounding region.
The area is a popular tourist destination, known for its stunning landscapes and unique desert ecosystem. The dramatic scenery is spectacular in any season. Sossusvlei is particularly beautiful at sunrise and sunset when the colours of the desert landscape are at their most vibrant.
Adjacent to Sossusvlei, lies Deadvlei, a white clay pan dotted with ancient, dead camelthorn trees, and Sesriem Canyon, a deep gorge carved by the Tsauchab River. The region is also home to diverse wildlife, including oryx, springbok, and ostriches, adapted to survive in the harsh desert environment. This is a digital image.
This is a signed and embossed Open Edition print.
Price range: $800.00 through $1 300.00
But Y
But Y
Namibia is known for its diverse landscapes, including the Namib Desert along its Atlantic coastline, which is one of the oldest deserts in the world, as well as the Kalahari Desert in the east. The country is also home to the Fish River Canyon, one of the largest canyons in the world, and Etosha National Park, renowned for its abundant wildlife, including lions, elephants, rhinos, and giraffes.
Habakkuk 3:17-19
Though the fig tree may not blossom,
Nor fruit be on the vines;
Though the labor of the olive may fail,
And the fields yield no food;
Though the flock may be cut off from the fold,
And there be no herd in the stalls—
Yet I will rejoice in the Lord,
I will joy in the God of my salvation.
The Lord God is my strength;
He will make my feet like deer’s feet,
And He will make me walk on my high hills.
Sossusvlei is a salt and clay pan located in the southern part of the Namib Desert, in the Namib-Naukluft National Park of Namibia. It's characterised by its large, red sand dunes, with names like Dune 45, Big Daddy and more. Some of which are among the highest in the world, reaching up to 300 meters tall. The name "Sossusvlei" refers specifically to the salt and clay pan surrounded by these towering dunes, but also associated with the surrounding region.
The area is a popular tourist destination, known for its stunning landscapes and unique desert ecosystem. The dramatic scenery is spectacular in any season. Sossusvlei is particularly beautiful at sunrise and sunset when the colours of the desert landscape are at their most vibrant.
Adjacent to Sossusvlei, lies Deadvlei, a white clay pan dotted with ancient, dead camelthorn trees, and Sesriem Canyon, a deep gorge carved by the Tsauchab River. The region is also home to diverse wildlife, including oryx, springbok, and ostriches, adapted to survive in the harsh desert environment. This is a digital image.
This is a signed and embossed Open Edition print.
Price range: $800.00 through $1 300.00
Print Information
The Cameras
The camera type used in the shot
A diverse array of cameras—both analogue and digital—have been employed across these collections, each chosen for its unique qualities and the specific demands of the work. From the deliberate precision of large format film to the immediacy of high-resolution digital capture, the tools used are integral to the aesthetic and technical depth of each image.
Ultra Large Format Film
Korona 7×17 Banquet panoramic cameras, working in the ultra-large-format 7×17 inch size with Ilford professional black-and-white film. Celebrated for their extraordinary clarity and subtle tonal gradation, these cameras excel in producing prints intended for large-scale display and are well-suited to creating expansive, gallery-grade prints.
Large Format Film
Shen-Hao field cameras in 4×5, 4×10, 5×7, and 8×10 formats, as well as custom-built pinhole configurations. These offer exceptional detail and tonal range, suited to large-scale prints.
Medium Format Film
A selection of classic and professional medium format systems, including the Yashica 44, Baby Rolleiflex, Pentax 645n, Mamiya 645 1000S, Yashica Mat 6×6 TLR, and the Pentax 6×7 MLU. Work in panoramic and specialised formats is achieved using 6×7, 6×8, 6×9, and 6×12 roll film backs, alongside the Fuji GX617 Professional.
Small Format Film
Iconic 35mm cameras including the Nikon F5 and F6, valued for their reliability and exceptional lens systems.
Digital
High-resolution digital capture is achieved using the Nikon D800e, D4, D5, Z9, and the medium format Fuji GFX 100—chosen for their dynamic range, colour fidelity, and image depth.
The Certificate of Authenticity
The signed document affirming provenance
Each artwork from CFP Prints is accompanied by a Certificate of Authenticity (CoA)—a formal, signed document affirming the provenance and originality of the piece. This certificate includes technical specifications of the work and verifies that it was produced exclusively by CFP Prints to the highest standards of quality.
The CoA is a physical, signed and embossed document, issued with every print—whether limited or open edition—and should remain with the artwork at all times. It serves as a vital record of authenticity for private collectors, galleries, and institutions alike, and is essential in the event of resale or exhibition.
The Collections
About our collections
Spanning over a decade of dedicated photographic exploration, these fine art prints offer a visually rich and emotionally resonant experience—crafted for discerning collectors with a deep appreciation for African imagery.
Each piece originates from either digital capture or traditional photographic film. When working with film, I hand-develop it using either the C41 for colour or ID-11 for black & white process to produce negatives, or the E6 process for colour-positive slides. These originals are then meticulously drum or flatbed scanned and edited with reference to the raw image—preserving authenticity without digital manipulation. Final adjustments are made in Photoshop to refine tonal range, enhance contrast, and remove minor imperfections, all while remaining true to the integrity of the original shot.
The body of work is organized into two primary formats: Film and Digital, and further curated by location or thematic focus, offering a cohesive yet diverse view into contemporary African visual culture.
The Editions
The edition process and signing
Limited Editions
To preserve both artistic integrity and collector value, all CFP Prints limited editions are strictly capped at twenty-five prints worldwide—regardless of size or format. This deliberate limitation ensures each work remains rare, covetable, and a sound investment for serious collectors.
Signing
Each print is individually signed, embossed, and hand-numbered to guarantee authenticity. For example, a notation of 10/25 designates the 10th print in an edition of 25, with 15 still available. A mark of 25/25 signifies the final print in the edition—no further reproductions will ever be produced. All markings are discreetly applied to maintain the visual harmony of the artwork.
The Framing
Our framed options
Framing is offered as an optional bespoke service designed to complement the refined aesthetic of each artwork. Our signature framing uses archival materials and is consistent with the presentation standards seen in our exhibitions.
Because framing preferences are deeply personal, we do not include it by default. However, we are pleased to consult on framing that suits your space, taste, and curatorial vision.
Crafted for the world’s most refined collections, we use Artglass™ AR 70 to reveal art as it was intended to be seen — luminous, pure and undistorted. Its anti-reflective surface eliminates distraction, its gentle hue enhances depth, and its enduring protection preserves each masterpiece with quiet sophistication.
If you choose to frame independently, we strongly recommend working with a professional framer experienced in handling fine art. Unframed prints are delicate and must be stored flat — never rolled or placed in tubes — to maintain their condition.
The Photographic Process
How film images are processed
The film collection has been captured entirely on traditional photographic film, then hand-developed using darkroom chemistry to achieve the desired contrast, depth, and tonal richness. Each image is the result of a single, unrepeatable exposure—meticulously composed and executed without the use of AI or automated intervention.
Once developed, the negatives or slides are professionally scanned and prepared for print with reference to the original exposure. No digital manipulation is applied beyond subtle refinements to preserve the integrity of the film—ensuring that the final print remains faithful to the moment it was made.
Film, by its very nature, carries imperfections—grain, subtle shifts in tone, the occasional flare or softness at the edges. Unlike digital images, which strive for clinical precision, film embraces the organic unpredictability of chemistry and light. It is imperfectly perfect.
These characteristics are not flaws but part of the medium’s truth—reminders that each frame was made by hand, in real time, through glass and emulsion. The result is an image with soul—alive with texture, nuance, and a quiet sense of presence that cannot be replicated or manufactured.
This is photography at its most elemental. Honest. Tactile. Human.
A bespoke, boutique process, rooted in craftsmanship and authenticity. Each image is created with intention, patience, and a deep respect for the medium.
The Printed Medium
The types of canvas and papers we use
At CFP Prints, every artwork is reproduced with a commitment to archival quality, material integrity, and aesthetic excellence. We print exclusively on carefully selected fine art materials that uphold the visual and tactile standards expected by discerning collectors.
Mediums
Our prints are available on two premium substrates, chosen for their longevity and superb image reproduction:
Canvas
Hahnemühle Cézanne Canvas 430 gsm
This natural white, 100% cotton canvas is acid-free and optimised for both photographic and fine art reproduction. Its finely woven, matt surface provides exceptional elasticity—ideal for stretching over wooden stretcher bars. The result is a richly textured print surface that enhances depth and presence, while preserving subtle tonal nuances.
Paper
Hahnemühle Photo Rag® Baryta 315 gsm
A 100% cotton paper with a natural white tone and no optical brighteners, this paper is prized for its elegant high-gloss finish and remarkable depth of tone. Its barium sulphate coating offers a nod to traditional darkroom baryta prints, producing exquisite detail, velvety blacks, and radiant highlights. Soft to the touch with a refined surface texture, Photo Rag® Baryta is acid- and lignin-free, and meets the highest standards for age resistance and museum-quality presentation.
The Printing Company
The printing company we use
The Printing Company
All works are produced in collaboration with a respected professional fine art print studio, known for its expertise in archival pigment printing for galleries, museums, and private collectors. Our longstanding relationship ensures a shared understanding of the aesthetic and technical requirements for each edition.
Test prints and unused reprints are securely destroyed, guaranteeing that no unauthorised duplicates are ever circulated—preserving both the integrity and exclusivity of each edition.