Pastels In The Winelands
“Pastels in The Winelands – Rawsonville, South Africa” – There are moments in the landscape when light bends just so—when sky and earth conspire to whisper beauty in tones too delicate for repetition. “Pastels in The Winelands” captures one such moment: a tender intersection of form, colour, and memory in the heart of South Africa’s Breedekloof Wine Valley.
Set against the humble charm of Rawsonville, this scene reflects a quieter rhythm of life—one shaped not by spectacle but by patience, presence, and reverence for the land. Just 90 kilometres from Cape Town, Rawsonville seems a world apart. Here, the vineyards stretch like brushstrokes beneath wide skies, and the fynbos releases its wild scent into the soft country air.
Though modest in size, this village is a quiet cornerstone of the Cape’s viticultural legacy. Within a 10-kilometre span, 17 wine and brandy cellars flourish—yet only a sliver of the population belongs to the Rawsonville community itself. The image honours that gentle paradox: abundance nestled in anonymity, heritage wrapped in humility.
Bathed in dusky gold and the softest pastel hues, the photograph was taken during a rare moment of atmospheric perfection—one that has not recurred since. The old farmhouse in the frame, now vanished, lent the scene an elegiac stillness. What remains is a visual testimony to transience and the sacred role of the photographer as witness.
John 15:5.
I am the vine, you are the branches. He who abides in Me, and I in him, bears much fruit; for without Me you can do nothing.
John 15:5 offers spiritual insight into the piece’s deeper resonance: “I am the vine, you are the branches. He who abides in Me, and I in him, bears much fruit…”
It is a verse that echoes through this work—an image rooted in soil, faith, and the grace of bearing quiet witness.
This is not a digital simulation, nor a manipulated vision. It is a real place, rendered with a real lens, in a real moment that has since passed. No AI—only light, timing, and the gift of being there.
“Pastels in The Winelands” is a signed and embossed Limited Edition print (1/25), with 25 editions remaining in the series. Crafted for the refined collector who understands the rarity of unrepeatable beauty, this piece is a love letter to the land—and to the quiet magic of South Africa’s forgotten corners.
This is a signed and embossed Limited Edition print. (1/25)
$1 500.00 – $2 000.00
Pastels In The Winelands
Pastels In The Winelands
“Pastels in The Winelands – Rawsonville, South Africa” – There are moments in the landscape when light bends just so—when sky and earth conspire to whisper beauty in tones too delicate for repetition. “Pastels in The Winelands” captures one such moment: a tender intersection of form, colour, and memory in the heart of South Africa’s Breedekloof Wine Valley.
Set against the humble charm of Rawsonville, this scene reflects a quieter rhythm of life—one shaped not by spectacle but by patience, presence, and reverence for the land. Just 90 kilometres from Cape Town, Rawsonville seems a world apart. Here, the vineyards stretch like brushstrokes beneath wide skies, and the fynbos releases its wild scent into the soft country air.
Though modest in size, this village is a quiet cornerstone of the Cape’s viticultural legacy. Within a 10-kilometre span, 17 wine and brandy cellars flourish—yet only a sliver of the population belongs to the Rawsonville community itself. The image honours that gentle paradox: abundance nestled in anonymity, heritage wrapped in humility.
Bathed in dusky gold and the softest pastel hues, the photograph was taken during a rare moment of atmospheric perfection—one that has not recurred since. The old farmhouse in the frame, now vanished, lent the scene an elegiac stillness. What remains is a visual testimony to transience and the sacred role of the photographer as witness.
John 15:5.
I am the vine, you are the branches. He who abides in Me, and I in him, bears much fruit; for without Me you can do nothing.
John 15:5 offers spiritual insight into the piece’s deeper resonance: “I am the vine, you are the branches. He who abides in Me, and I in him, bears much fruit…”
It is a verse that echoes through this work—an image rooted in soil, faith, and the grace of bearing quiet witness.
This is not a digital simulation, nor a manipulated vision. It is a real place, rendered with a real lens, in a real moment that has since passed. No AI—only light, timing, and the gift of being there.
“Pastels in The Winelands” is a signed and embossed Limited Edition print (1/25), with 25 editions remaining in the series. Crafted for the refined collector who understands the rarity of unrepeatable beauty, this piece is a love letter to the land—and to the quiet magic of South Africa’s forgotten corners.
This is a signed and embossed Limited Edition print. (1/25)
$1 500.00 – $2 000.00
Print Information
The Cameras
The camera type used in the shot
The collection was photographed on one of the following cameras using either digital or photographic film, which I then hand-developed in chemistry to attain the ideal contrast and colour. The negatives/slides were then scanned and prepared for print with reference to the original photo without any digital alteration.
Digitals are shot in RAW and processed in Photoshop.
Large Format
Shen-Hao 4×5, 4×10, 5×7, 8×10, Pinhole
Medium Format
Yashica 44, Baby Rolleiflex, Pentax 645n, Mamiya 645 1000S, Yashica Mat 6×6 TLR, Pentax 6×7 MLU, 6×7, 6×8, 6×9, 6×12 Roll Film Backs, Fuji GX617 Professional
Small Format
Nikon F5, Nikon F6
Digital
Nikon D800e, Nikon D4, Nikon D5 and Fuji GFX 100
The Collections
About our collections
Photographed over a period of more than ten years, these superb fine art prints are a joy to behold.
The collection was photographed on either digital camera or photographic film. When using photographic film, I then hand-develop in chemistry to obtain either a negative (C41 process or black and white chemistry) or (E6 process) to obtain a positive/slide. The film is then scanned, edited and prepared for print with reference to the original photo without any digital alteration. The negatives/slides and digital RAW files are edited in Photoshop to attain the ideal contrast and colour, and minor blemishes are removed.
Collections are either Open or Limited Collections; which are limited to twenty-five (25) or less if stipulated, regardless of size or medium selected.
The Editions
The edition process and signing
Limited Editions:
CFP Prints limits their limited editions to a maximum of twenty-five prints, regardless of size purchased, this ensures exclusivity and your print remains a sure investment.
Signing:
All our prints are individually signed and embossed, ensuring authenticity and collector value. Each limited edition print is hand-numbered—for example, 10/25 indicates the 10th print in a series of 25, with 15 remaining. A notation of 25/25 means you are viewing the final print in the edition, and only 25 prints will ever be produced.
The Framing
Our framed options
At CFP Prints, we offer a signature-styled framing option upon request. This bespoke option is carefully designed to complement our fine art prints understated elegance, using archival materials to preserve both beauty and integrity. While framing is not standard due to the unique preferences of each collector, we’re happy to discuss bespoke solutions that suit your space and vision.
Should you opt to frame independently, we strongly recommend professional framing. Unframed prints are delicate and should be handled minimally and stored flat, not in tubes. Every piece deserves a presentation that matches its significance.
Please get in touch if you’d like to explore framing options with us.
The Photographic Process
How film images are processed
The collection was photographed on photographic film, which I then hand-developed in chemistry to attain the ideal contrast and colour. The negatives/slides were then scanned and prepared for print with reference to the original photo without any digital alteration. It is a once off shot, no AI.
The Printed Medium
The types of canvas and papers we use
Mediums:
CFP Prints offers prints on premium Hahnemühle Cézanne Canvas 430 gsm pure cotton canvas and Hahnemühle Fine Art Papers, particularly the Hahnemühle Photo Rag® Baryta 315 gsm, 100% cotton, white, high-gloss finish paper.
Canvas: Hahnemühle Cézanne Canvas. This natural white canvas is made from 100% cotton, is acid-free and ideal for photographic and fine art reproduction. The finely woven surface is matt and provides extraordinary elasticity, making it ideal for stretching over a wooden stretcher bar.
Paper: Hahnemühle Photo Rag® Baryta is a pure cotton paper with an inkjet coating that has been perfectly optimised for the needs of FineArt applications. The natural white paper comes in a pleasant, warm shade of white and contains no optical brighteners. The exquisite surface texture gives the paper a lovely, delicate feel while at the same time lending it an artistic note. In combination with the high-gloss premium inkjet coating, it produces stunning print results with outstanding reproduction of colour and detail, deep blacks and perfect contrasts. The barium sulphate in the coating makes Photo Rag® Baryta a popular alternative to analogue baryta paper. The combination of the cotton artist paper and the high-gloss inkjet coating lends FineArt prints a striking character with a beautiful, elegant sheen, without glare. Photo Rag® Baryta is acid- and lignin-free and meets the most exacting requirements in terms of age resistance.