In The Hood
"In The Hood, East-London, South Africa" - Perched like a dapper gentleman in full regalia, the Brown-hooded Kingfisher sits in calm vigilance against a backdrop of pale green riverine bushes. Captured at the Nahoon Estuary in East London—my hometown—this fleeting moment was photographed during a summer journey to revisit familiar landscapes and elusive birdlife not found in my current place of residence. Framed in soft natural light and rendered in full colour with a Nikon 800mm f/5.6 lens, this intimate portrait reflects the striking contrast between the kingfisher’s earthy hood, electric-blue wings, and the quiet, almost reverent setting of the estuarine bush.
Known as one of ten kingfisher species in Southern Africa, the Brown-hooded Kingfisher is not your typical aquatic hunter. It prefers insects and small prey, often found flitting through woodland, suburban gardens, and riverine thickets. Here, its presence adds a brushstroke of brilliance to the pastel palette of the Eastern Cape landscape. The estuary, thick with mangroves, reeds, and acacia, becomes a natural gallery—a stage where this bird commands both quiet attention and admiration.
Job 38:41
Who provides food for the raven,
When its young ones cry to God,
And wander about for lack of food?
I had set out to photograph a nesting pair of Crowned Eagles along the Nahoon River that morning, but this unexpected encounter drew me in. There’s a particular joy in moments you do not plan for—when nature surprises you, not with spectacle, but with elegance. The bird’s posture, its focus, the way it balanced between light and shade—it reminded me of the divine care spoken of in Job 38:41: “Who provides food for the raven, when its young ones cry to God and wander about for lack of food?”
This kingfisher, dressed finely by nature’s design, becomes a visual metaphor for providence, waiting in patience, and living in harmony with one’s surroundings.
"In The Hood" - invites viewers to consider the overlooked brilliance of smaller creatures, those that move quietly through the margins of wild spaces and still play profound roles in their ecosystems. As part of an ongoing collection to photograph all ten kingfisher species of Southern Africa, this image holds both personal significance and artistic aspiration.
This signed and embossed Open Edition print is perfect for collectors who seek to celebrate African biodiversity through fine art. It is a moment of stillness, intention, and divine detail—captured at just the right time, in just the right place.
Explore our open edition sister image to In The Hood, Regal and Three Is A Family, and make this either a two or three-part series collection.
This is a signed and embossed Open Edition print.
Price range: $800.00 through $1 300.00
In The Hood
In The Hood
"In The Hood, East-London, South Africa" - Perched like a dapper gentleman in full regalia, the Brown-hooded Kingfisher sits in calm vigilance against a backdrop of pale green riverine bushes. Captured at the Nahoon Estuary in East London—my hometown—this fleeting moment was photographed during a summer journey to revisit familiar landscapes and elusive birdlife not found in my current place of residence. Framed in soft natural light and rendered in full colour with a Nikon 800mm f/5.6 lens, this intimate portrait reflects the striking contrast between the kingfisher’s earthy hood, electric-blue wings, and the quiet, almost reverent setting of the estuarine bush.
Known as one of ten kingfisher species in Southern Africa, the Brown-hooded Kingfisher is not your typical aquatic hunter. It prefers insects and small prey, often found flitting through woodland, suburban gardens, and riverine thickets. Here, its presence adds a brushstroke of brilliance to the pastel palette of the Eastern Cape landscape. The estuary, thick with mangroves, reeds, and acacia, becomes a natural gallery—a stage where this bird commands both quiet attention and admiration.
Job 38:41
Who provides food for the raven,
When its young ones cry to God,
And wander about for lack of food?
I had set out to photograph a nesting pair of Crowned Eagles along the Nahoon River that morning, but this unexpected encounter drew me in. There’s a particular joy in moments you do not plan for—when nature surprises you, not with spectacle, but with elegance. The bird’s posture, its focus, the way it balanced between light and shade—it reminded me of the divine care spoken of in Job 38:41: “Who provides food for the raven, when its young ones cry to God and wander about for lack of food?”
This kingfisher, dressed finely by nature’s design, becomes a visual metaphor for providence, waiting in patience, and living in harmony with one’s surroundings.
"In The Hood" - invites viewers to consider the overlooked brilliance of smaller creatures, those that move quietly through the margins of wild spaces and still play profound roles in their ecosystems. As part of an ongoing collection to photograph all ten kingfisher species of Southern Africa, this image holds both personal significance and artistic aspiration.
This signed and embossed Open Edition print is perfect for collectors who seek to celebrate African biodiversity through fine art. It is a moment of stillness, intention, and divine detail—captured at just the right time, in just the right place.
Explore our open edition sister image to In The Hood, Regal and Three Is A Family, and make this either a two or three-part series collection.
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.