The sky half promised a colourful sunset so I set off to a location that I had scouted a few days before. I plan my photographs with a happy understanding that they will not go completely (or at all) to plan. It’s one of the reasons why I love the whole process of making pictures.

As expected, this plan did not happen as hoped. If it had, the photograph here would have had an outrageous, vibrant canopy of clouds.

Instead, there was just a faint smudge of pink to my left that appeared well after the sun had settled below the horizon.

Waiting in such a vista is not so hard to take and I had an optimistic feeling that the light might still get interesting. I just hoped it would be soon because I was not looking forward to walking back along the clifftop in the dark.

Luckily, the light arrived in the form of a faint reflection softly lighting parts of the red cliffs before me. It stayed long enough for me to make six frames at 10 seconds each for me to later stitch into the picture you see here.

My headlamp had fresh batteries (not always a part of my planning :-) and the walk back on an unusually warm and windless evening was without any catastrophic stumbles :-)

Kangaroo Island is pretty easy to reach by either ferry or plane. Even so, it still feels and is remote.

This picture is from a series I made at Pennington Bay. Rugged beaches, hemmed in by stoney cliffs, face towards Antarctica. From this place, there is no land until the great white continent in the south.

Cliff Top Dusk, Pennington Bay, Kangaroo Island, South Australia. #3239

Every picture I have made encapsulates the essence of my story. Whether it is intricate details, obscure abstracts, or expansive vistas, each piece is unique. The artistry in my archival, museum-quality prints is crafted to evoke emotion and capture moments in time.

This Limited Edition is available in two sizes, with a maximum of five prints plus up to two Artist Proofs.

The giclée prints are made on archival, museum-quality, cotton rag paper and can be supplied framed or rolled ready for your preferred framer.

Larger prints are sized to boldly dominate a wall. As I treat each scene individually, different pictures may have bespoke crop or form factors.

Foley Fine Art Prints are printed on either Ilford Prestige Galarie Smooth Cotton Rag or Hahnemühle Photo Rag heavyweight stock using state-of-the-art, museum-grade printers and archival inks. The fine art giclée prints, crafted with precision on a professional inkjet printer, are archival quality and guaranteed not to fade or bleed for up to 100 years, making them the industry standard in galleries and museums worldwide. The Paper Size allows for at least a 20mm white border around the image. The border may vary according to the picture's format. Contact me if you have any questions or special requests.

For Australian-based clients: If you choose one of the framing options, your giclée print will be dry-mounted to an acid-free 5 mm foam board using an archival adhesive film. It is then placed in a hand-crafted shadowbox frame made from FSC-certified Tasmanian Oak and protected by durable 3mm museum-grade plexiglass. The back of the frame is finished with framer’s tape and stainless steel hanging wire. A signed Certificate of Authenticity is supplied to be attached to the back of the frame.

‘I make photographs to hang on walls and be appreciated for lifetimes. The soft texture of these bright white papers is integral to how I want you to see and ‘feel’ my work.’

For transport reasons, square format prints can only be framed in the Medium (60x60cm) size. Larger prints should be taken to your local framer.

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Returns on damaged or lost artwork: In the unlikely event of receiving damaged artwork, don't hesitate to contact me within 48 hours with pictures. Once confirmed, I will endeavour to replace the edition free of cost. If I cannot replace the edition, I will arrange a refund.