Embers of the Vine
Embers of the Vine
“Embers of the Vine — Western Cape, South Africa” — At the end of the growing season, a vineyard begins its quiet transition. The fruit has been gathered, summer has surrendered its intensity, and leaves that once worked beneath the sun turn through deep burgundy, scarlet and amber before finally falling away.
“Embers of the Vine” moves into this intimate final chapter of the vineyard, leaving behind the familiar geometry of cultivated rows to concentrate instead upon light, colour and the delicate structures of the vine itself.
Created as a photographic triptych, the work moves between three closely observed perspectives. On either side, autumn leaves glow almost translucently as sunlight passes through their ageing surfaces, revealing veins, textures and rich concentrations of red. Between them, a slender tendril emerges from a field of warm colour and soft abstraction — a small remnant of the structure that carried the season's growth.
The shallow depth of field transforms the vineyard beyond the immediate point of focus into washes of crimson, gold, green and amber. What remains recognisable as a working agricultural landscape becomes something quieter and more contemplative: an exploration of the moment when productivity gives way to rest.
There is beauty in this transition precisely because it cannot be held. The brilliance of the leaves exists because their season is ending. Their colour is not a beginning, but the visible evidence of something having reached its appointed conclusion.
Ecclesiastes 3:1–2
To every thing there is a season, and a time to every purpose under the heaven:
A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted.
The words of Ecclesiastes are particularly appropriate here. Vineyards are governed by seasons — pruning, budding, growth, harvest and dormancy — each stage necessary to what follows. What appears to be an ending is simultaneously preparation for renewal.
Rather than presenting autumn as decline, “Embers of the Vine” celebrates the dignity of completion. The vines have fulfilled their purpose for another season. Their leaves burn briefly with extraordinary colour before the landscape retreats into winter and the cycle begins again.
Presented as three complementary photographs, the differing portrait and landscape orientations are intentional. Together they create a visual rhythm of leaf, vine and leaf — moving from intimate detail through structure and returning to the luminous foliage from which the sequence began.
Captured photographically in the vineyards of the Western Cape, South Africa, this is an authentic photographic work created from observed natural light and the landscape itself. No generated imagery or artificial reconstruction forms part of the artwork.
This is a signed and embossed Open Edition triptych.
Price range: $2 500.00 through $3 700.00
Embers of the Vine
Embers of the Vine
“Embers of the Vine — Western Cape, South Africa” — At the end of the growing season, a vineyard begins its quiet transition. The fruit has been gathered, summer has surrendered its intensity, and leaves that once worked beneath the sun turn through deep burgundy, scarlet and amber before finally falling away.
“Embers of the Vine” moves into this intimate final chapter of the vineyard, leaving behind the familiar geometry of cultivated rows to concentrate instead upon light, colour and the delicate structures of the vine itself.
Created as a photographic triptych, the work moves between three closely observed perspectives. On either side, autumn leaves glow almost translucently as sunlight passes through their ageing surfaces, revealing veins, textures and rich concentrations of red. Between them, a slender tendril emerges from a field of warm colour and soft abstraction — a small remnant of the structure that carried the season's growth.
The shallow depth of field transforms the vineyard beyond the immediate point of focus into washes of crimson, gold, green and amber. What remains recognisable as a working agricultural landscape becomes something quieter and more contemplative: an exploration of the moment when productivity gives way to rest.
There is beauty in this transition precisely because it cannot be held. The brilliance of the leaves exists because their season is ending. Their colour is not a beginning, but the visible evidence of something having reached its appointed conclusion.
Ecclesiastes 3:1–2
To every thing there is a season, and a time to every purpose under the heaven:
A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted.
The words of Ecclesiastes are particularly appropriate here. Vineyards are governed by seasons — pruning, budding, growth, harvest and dormancy — each stage necessary to what follows. What appears to be an ending is simultaneously preparation for renewal.
Rather than presenting autumn as decline, “Embers of the Vine” celebrates the dignity of completion. The vines have fulfilled their purpose for another season. Their leaves burn briefly with extraordinary colour before the landscape retreats into winter and the cycle begins again.
Presented as three complementary photographs, the differing portrait and landscape orientations are intentional. Together they create a visual rhythm of leaf, vine and leaf — moving from intimate detail through structure and returning to the luminous foliage from which the sequence began.
Captured photographically in the vineyards of the Western Cape, South Africa, this is an authentic photographic work created from observed natural light and the landscape itself. No generated imagery or artificial reconstruction forms part of the artwork.
This is a signed and embossed Open Edition triptych.
Price range: $2 500.00 through $3 700.00
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.