Tim Platt

Signed limited edition animal fine art print, brown white monkey - Capuchin 1

2014

Capuchin 1 - Signed limited edition archival pigment print - Edition of 3 A series of three portrait images of a Capuchin monkey in a stylised painterly style. This portraits are inspired by my fascination with animal intelligence. The Capuchin monkey is instantly recognised due to its distinctive two tone colouring which of course also led to the Italian word Cappuccino. The word itself originally derives from the Order of Friars Minor Capuchin, an offshoot from the Franciscans, who wear brown robes with large hoods. Considered the most intelligent monkeys, the Capuchin has learnt to use stones...

" Macaw #8 ” - Signed limited edition archival pigment print - Edition of 10 The iconic Blue and Gold Macaw is a sociable and playful large parrot which is is mainly blue and yellow in colour. It’s beak is black and very powerful. The bird has white skin, with it’s face having nearly no feathers apart from a few black ones spaced apart from each other forming a striking striped patterns around the eyes. Other distinct details are a black ‘chin strap’ and lime-green feathers on the forehead. Animal photography is about being ready for the split-second moment when it happens. This takes a certain amount of production. The studio set-up, the lighting and the camera settings can all be planned but the magic moment is seldom planned. It just happens naturally and you need to be prepared. Whether you capture it will depend on patience, concentration and reflex. This is seldom more true than when capturing birds in flight. The human eye can’t process the speed at which birds fly. The only way we can fully appreciate the beauty of feathered flight is to watch it in slow motion or freeze it at several thousandths of a second. This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid- and lignin-free, Museum quality for highest age resistance and a popular alternative to analogue baryta paper). The inks used are also known for their longevity. Signed + numbered by artist with certificate of authenticity. Please note that prices increase as editions sell. Archival pigment print available sizes : 106 x 85 cm / 41.5 x 33.5” - Edition of 10 129 x 103.2 cm/ 51 x 40.55 in - Edition of 3 Tim Platt specialises in creating minimal stylised studio portraits of birds and animals, which he describes as beauty shots. A frozen moment in time allows us to observe the world in suspension and will often reveal a graphic beauty that might otherwise flash by in the blink of an eye and remain unnoticed. Whether observing the magnified eye of a bullfrog, or an eagle captured at several thousandths of a second in mid-flight, he is fascinated by the level of detail that can be revealed in a large format print. It is the stillness of a photograph that gives us time to pause and marvel at the myriad levels of detail in Nature’s grand design and allows us to reflect on the wonderful diversity of life on Earth. categories : Color photography, 21st century, Archival pigment print, Animal, Portrait, Slow motion, Beauty, Fine Art , Parrot, Colourful, blue, yellow, bird in flight, animal photographer, animal photography, bird, bird photography...

Affinity by Brad Wilson is a series of exquisitely detailed close-up color portraits of captive birds, reptiles, and mammals in a studio environment. Employing a stark black backdrop...

Sepia-toned gelatin silver print Signed and numbered, verso 20 x 24 inches, sheet (Edition of 35) 26 x 39 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...