Tree Ballet Ed. 1 of 5

‘I am attracted by the timeless and ever-changing place where the sea washes across the edge of land.
I had watched these trees many times before the weather, light and tide coincided in a ballet of their own.
The 10 plus minute exposures I use means the light will often change while the shutter is open. On a morning like this, with low clouds and the sun breaking through for short bursts, I was never certain of what I would end up with.
The very dark filters required to make a long exposure in daylight entail calculations to compensate for the lack of light arriving onto the sensor. Composing and focusing is a bit of a process as well.’

This is a limited edition of 5, ensuring its exclusivity. It is meticulously and expertly crafted on 310 GSM Cotton Rag paper, adding to its rarity and value.

Every picture I have made encapsulates the essence of my story. Each piece, with its unique intricate details, obscure abstracts, or expansive vistas, is crafted to deeply move and connect with the viewer’s emotions. The artistry in my archival, museum-quality prints is designed to evoke profound emotion and capture moments in time, creating a deep and lasting connection with the viewer.

Foley Fine Art Prints are made with craftsmanship. They are printed on heavyweight stock using state-of-the-art, museum-grade printers and archival inks and meet the highest industry standards.

With their archival quality, these fine art giclée prints guarantee lasting beauty. They are shipped rolled, ready to be framed and cherished for years.

Each print includes a signed and numbered Certificate of Authenticity, adding a personal and intimate touch to this unique piece.

Each print is individually made to order, increasing delivery time by approximately five working days.

'Photography isn't real until I can feel it. The print is the tactile confluence of light and shadow - when my creative process is fully and properly realised.'

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'My first attraction to photography was through the pages of 1970’s surf magazines. Inspired, I saved for a Pentax and a cheap 400mm lens, then began photographing my friends surfing. I was full of teenage ambition to see my pictures on a magazine’s page. After a week of waiting, the Kodachromes would come back from processing. I would project the best on my bedroom wall, imagining them as magazine covers with mastheads and headlines. During the mid-'70s and '80, there was some limited publishing success. But even more fun and adventure travelling to various surf locations worldwide. Travel opened my photographic soul - it encouraged me to understand my craft better. I discovered (and devoured) the images and teachings of Ansel Adams. Practical instruction came via many workshops conducted by contemporary masters of photography. I was also very fortunate to receive mentoring from iconic Australian photographer David Moore. This mix of 'on-page' and in-person tuition taught me to photograph with precise techniques and greater reflection. I would make photographs for many years using only large and medium format cameras. Later, I settled into a professional photography career in Newcastle, Australia. I was a busy pro, commissioned by local, national, and international clients. All the while, though, I made pictures for myself. Everyone needs a hobby as a break from everyday work, and mine was photography - despite my day job. In 2006, I almost permanently lost my sight after eye surgery. It took several years for my eyes to recover and longer to come to terms with the associated depression. The recovery period gave me more time for my ‘hobby’. I used it to express how that smeared vision filtered the world in the months immediately after the surgery. I was drawn to disguising scenes and details with blur and motion.’
COVID and travel restrictions brought forward his planned retirement from Corporate Photography. He now devotes more time to his personal work while working part-time as a Creative for Apple.
Paul’s work can be found on Instagram ( @lightmoods )