The Shed
“The Shed – Hex River Valley, South Africa” – Stillness settles like dust on the old timber and stone. In The Shed, we find not a ruin, but a quiet witness—an 1800s structure nestled between three towering oak trees in the heart of South Africa’s Hex River Valley. This image, captured on colour film but later rendered in black and white, evokes a contemplative pause—a visual prayer where time seems both frozen and infinite.
Taken during an almost windless winter’s afternoon on Kodak Professional Ektar 100 using a 4×5 large format camera with a 6×12 roll film back, the scene initially bloomed in subdued earthy hues. Yet, it was in monochrome that the image revealed its truest voice. In black and white, the textures breathe more deeply—the grain of the timber, the etched bark of the oaks, the worn face of the shed. Light and shadow trade places like secrets in a half-forgotten memory.
Grey clouds drifted like woollen blankets overhead, cloaking the sky and muting the valley’s usual palette. The cold air carried no sound, only the hush of history, layered into the land. The oak trees, guardians of this weathered outbuilding, seem to have been planted not merely by hand, but by providence, framing the structure like sentinels from another age.
Matthew 6:19-21
Do not lay up for yourselves treasures on earth, where moth and rust destroy and where thieves break in and steal; but lay up for yourselves treasures in heaven, where neither moth nor rust destroys and where thieves do not break in and steal. For where your treasure is, there your heart will be also.
The Hex River Valley, with its dramatic seasonal shifts and mountainous backdrop, is more than a photographic subject; it is a soul-place. It is here, in the skeletal quiet of winter, that one finds the purity of form and shadow most honest. Accompanying this image is a verse from Matthew 6:19–21, a quiet reminder of impermanence and the deeper value of things not seen but felt. In a world chasing immediacy, The Shed offers a visual pause—a meditation on craftsmanship, rootedness, and the treasures found in stillness.
There is an enduring dignity in this photograph, a simplicity that resists spectacle in favour of intimacy. It does not demand attention—it rewards quiet observation. In a world obsessed with immediacy and colour, The Shed is a slow exhale, a quiet chapter in a long, ancestral story.
This is not just a record of place—it is a meditation on time, memory, and the soft persistence of things that endure.
This is a signed and embossed Open Edition print.
$1 050.00 – $1 350.00
The Shed
The Shed
“The Shed – Hex River Valley, South Africa” – Stillness settles like dust on the old timber and stone. In The Shed, we find not a ruin, but a quiet witness—an 1800s structure nestled between three towering oak trees in the heart of South Africa’s Hex River Valley. This image, captured on colour film but later rendered in black and white, evokes a contemplative pause—a visual prayer where time seems both frozen and infinite.
Taken during an almost windless winter’s afternoon on Kodak Professional Ektar 100 using a 4×5 large format camera with a 6×12 roll film back, the scene initially bloomed in subdued earthy hues. Yet, it was in monochrome that the image revealed its truest voice. In black and white, the textures breathe more deeply—the grain of the timber, the etched bark of the oaks, the worn face of the shed. Light and shadow trade places like secrets in a half-forgotten memory.
Grey clouds drifted like woollen blankets overhead, cloaking the sky and muting the valley’s usual palette. The cold air carried no sound, only the hush of history, layered into the land. The oak trees, guardians of this weathered outbuilding, seem to have been planted not merely by hand, but by providence, framing the structure like sentinels from another age.
Matthew 6:19-21
Do not lay up for yourselves treasures on earth, where moth and rust destroy and where thieves break in and steal; but lay up for yourselves treasures in heaven, where neither moth nor rust destroys and where thieves do not break in and steal. For where your treasure is, there your heart will be also.
The Hex River Valley, with its dramatic seasonal shifts and mountainous backdrop, is more than a photographic subject; it is a soul-place. It is here, in the skeletal quiet of winter, that one finds the purity of form and shadow most honest. Accompanying this image is a verse from Matthew 6:19–21, a quiet reminder of impermanence and the deeper value of things not seen but felt. In a world chasing immediacy, The Shed offers a visual pause—a meditation on craftsmanship, rootedness, and the treasures found in stillness.
There is an enduring dignity in this photograph, a simplicity that resists spectacle in favour of intimacy. It does not demand attention—it rewards quiet observation. In a world obsessed with immediacy and colour, The Shed is a slow exhale, a quiet chapter in a long, ancestral story.
This is not just a record of place—it is a meditation on time, memory, and the soft persistence of things that endure.
This is a signed and embossed Open Edition print.
$1 050.00 – $1 350.00
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.