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  • Waiting, there is always waiting when photography is concerned. A partner waits. A Photographic Timeline.
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  • UK; British Isles; Wales; Anglesey; Ynys Mon; Church Bay; Porth Swtan; Irish Sea; sea; water; sunset; shore; shoreline; boulders; dusk; tranquil; evening; Coast; coastline; tide; Holyhead, Holyhead Mountain,
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  • 3 Edition A1 - 5 Edition A2
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  • Only available in A4 and A3 sizes.
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  • Available in four sizes from 3 x A1 Editions, 5 x A2 Editions and unlimted A3 and A4 prints.
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  • Starting in 1848, this 5100ft long breakwater took 28 years to complete, and ended in 1876. 40 men lost their lives during the construction. It now affords shelter to the vast and busy Holyhead port but here it is taking time out in relatively calm seas and warm evening sunlight.
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  • 3 Edition A1 - 5 Edition A2<br />
<br />
Shot from the summit of Moel Wnion towards a phenomenal sunset over the Llyn Peninsula. The high hills to our left never really received much light so remained a cold grey blue all afternoon. Today I was alone again, and happy. A group of mountaineering students looked as if they would head for this summit but then they turned and headed into invisibility. The wind was severe and bitterly cold but it was worth being on the hill tops for light such as this.
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  • The sun lies, there was NO warmth up here, just a severe and bitterly cold wind blowing from the East over the Carneddau. Slices of sunshine simply skimmed right off the snow surface and was lost in the air. The only compromise was the perfectly rounded and deeply satisfying contour of Moel Wnion in the sunlit distance.
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  • An isolated large cloud passed over a cloudless blue sky and darkened all the hill tops of the Carneddau in the distance, but intense sunlight continued to blast the 1000ft cliffs just ahead of me, beautiful and natural tonality
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  • Sunset over crystal clear rock pool in low cliffs near Rhosneigr, Anglesey, Wales
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  • Images of Anglesey Landscapes
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  • Available as 3 x A1 and 5 x A2 Limited Editions, but also unlimited A3 and A4 prints.<br />
<br />
The thick fog not only enveloped the beautiful Menai Strait, it also flowed deep into the woodland, separating trees and copses into delicate tonal patterns and textures, creating an almost rain-forest like appearance. ..On the way to work that Friday, I couldn't even see the end of our road for thick fog! As I had all my kit with me for a day's studio shooting, I drove via the bridges to see what atmospheric effects might be occurring. Whilst approaching the first lay-by, I saw a beautiful recessional tonal layering of tall trees disappearing into thick fog, almost top-lit by the weak early morning sun. However by the time I'd parked the van the fog has shifted and the recessional effect had reduced, so I walked right down to the edge of the Menai Strait to see whether either of the bridges would show through. This time I had the opposite problem where the fog was so thick I couldn't even see the field alongside me or more than 30 ft out onto the silent Strait. I trudged along a damp, muddy and waterlogged foreshore eventually meandering back up the misty fields to the road. Ironically, from this elevation, higher above the Strait, and with the sun starting to back-light the fog, I enjoyed several stunning variations of view from just a 200 yd stretch of road. The light, sunshine and fog were all dancing across the fast water when regrettably, I had to leave to open the gallery at 10.00 :-(
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  • Available as 3 x A1 and 5 x A2 Limited Editions, but also unlimited A3 and A4 prints.<br />
<br />
The Celtic Cross shaped memorial at the highest point of Church Island stands proud, just, above the fog draped Menai Strait.Though the fog obscured much of the view, the extreme low tide revealed a landscape not often seen...On the way to work that Friday, I couldn't even see the end of our road for thick fog! As I had all my kit with me for a day's studio shooting, I drove via the bridges to see what atmospheric effects might be occurring. Whilst approaching the first lay-by, I saw a beautiful recessional tonal layering of tall trees disappearing into thick fog, almost top-lit by the weak early morning sun. However by the time I'd parked the van the fog has shifted and the recessional effect had reduced, so I walked right down to the edge of the Menai Strait to see whether either of the bridges would show through. This time I had the opposite problem where the fog was so thick I couldn't even see the field alongside me or more than 30 ft out onto the silent Strait. I trudged along a damp, muddy and waterlogged foreshore eventually meandering back up the misty fields to the road. Ironically, from this elevation, higher above the Strait, and with the sun starting to back-light the fog, I enjoyed several stunning variations of view from just a 200 yd stretch of road. The light, sunshine and fog were all dancing across the fast water when regrettably, I had to leave to open the gallery at 10.00 :-(
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  • 3 Edition A1 - 5 Edition A2<br />
<br />
Behind the old watermill, which provided energy on a minuscule scale, squats the huge and ominous Wylfa Nuclear Power Station. The age is different, the size is different, the power is different, the energy production is different, the customers are different, the difference when things goes wrong are off the scale!
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  • Available as 3 x A1 and 5 x A2 Limited Editions, but also unlimited A3 and A4 prints.
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  • Interview in the BIPP magazine 'The Photographer' with its editor Jonathan Briggs, about a major project which became my third book, 'Nant Gwrtheyrn - Y Swyngyfaredd (The Enchantment)' that was published in 2009
    The Photographer - Mar 09 p18-19
  • Interview in the BIPP magazine 'The Photographer' with its editor Jonathan Briggs, about a major project which became my third book, 'Nant Gwrtheyrn - Y Swyngyfaredd (The Enchantment)' that was published in 2009
    The Photographer - Mar 09 p16-17
  • Interview in the BIPP magazine 'The Photographer' with its editor Jonathan Briggs, about a major project which became my third book, 'Nant Gwrtheyrn - Y Swyngyfaredd (The Enchantment)' that was published in 2009
    The Photographer - Mar 09 p24-25
  • Interview in the BIPP magazine 'The Photographer' with its editor Jonathan Briggs, about a major project which became my third book, 'Nant Gwrtheyrn - Y Swyngyfaredd (The Enchantment)' that was published in 2009
    The Photographer - Mar 09 p20-22
  • We had seen a photographer standing in the tripod holes at the most popular spot on the island for taking pictures of this lighthouse, but we were quite surprised to see he hadn’t moved almost an hour and a half later. <br />
<br />
I’ve never understood the obsession to photograph popular landmarks from well know spots, just to create an almost identical image to what thousands of others have already shot.  Sure if you happen to be passing and the light is mind-blowing then why not, but to hang around for hours seems to me at least, a waste of one’s life. There are dozens of amazing things to see and photograph in any one area; we just need to apply some creative thinking and astute observation.  <br />
<br />
In our time at this tip of Llanddwyn Island, we had enjoyed exploring the coves, the amazing shingle beach and indeed the structure of the lighthouse itself. Equally, the racing clouds in the sky above fascinated me as did the incredible geology of the multi-coloured pillow lavas that form this small island.
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  • My fifth book, following a four year project exploring nude figures in wild landscape.<br />
<br />
Signed copies from Glyn's gallery are £149 each or direct from the printing company at<br />
www.blurb.co.uk/b/7799527-landscape-figures   <br />
<br />
This hardback 122 page book contains 54 x A4 images plus associated full captions to the images, and an introduction and index. <br />
<br />
                       ~<br />
<br />
Since 2011 photographer Glyn Davies has spent much of his personal time photographically exploring the relationship between nude human figures and the ‘notional’ natural landscape.<br />
<br />
The nude in landscape is nothing new as a genre, but Glyn wanted to create images with a subtly different emphasis. Nudes in landscape are often about the beauty or pose of extremely beautiful professional models, and without the model there is sometimes nothing left. As a landscape photographer Glyn wanted the landscape to be as important as the nude itself, and the figure had to have a relevant connection to that landscape.<br />
<br />
The subjects were not professional models but volunteers who had shown an interest in the concept. As the project developed it clearly confirmed that there is an important sensuous, sometimes sensual connection between a naked person and their environment, an empowering connection generally prevented by or concealed when wearing clothes.<br />
<br />
Almost without exception the volunteers found the experience to be life affirming and liberating. For many this was the first time that they had felt completely at one with the earth.<br />
<br />
“Although the nude is vital to the project and integral within the images, the images are not just ‘nudes’ but landscapes and stories. In a way they are just simple, beautiful, dreamlike visual questions” <br />
<br />
Glyn Davies 2014
    Landscape Figures - Nudes in Wilderness
  • "Landscape Figures" Believable nudes in wild landscape<br />
<br />
A major new exhibition, “Landscape Figures”<br />
<br />
In 2011, the British Prime Minister catapulted professional landscape photographer, Glyn Davies, into the limelight after purchasing two of Glyn’s books as a personal gift for the Royal wedding of the Duke and Duchess of Cambridge. What people did not know at this time is that Glyn had started working in his free time on a three year major project dealing with the subject of fragility and vulnerability of the naked human form in wild landscape.<br />
<br />
The models are inexperienced volunteers from the general public, not photographic models, and they were asked to pose completely naked, all forms of protection removed, clothes, boots and equipment so that they became exposed physically and mentally to the elements, but sensually connected to the earth and nature. Glyn said, "I mostly wanted to place the exposed figures within bigger spaces but sometimes there was a need to place them in more intimate, closer landscapes"
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  • As a landscape photographer I spend most of my time in wild windswept natural landscapes but on an inescapable detention in London I looked at the things about me which still represented a 'form' of landscape. Objects, light and features with which I could connect as someone needing nature to mentally exist. The natural deciduous process in the tree, the sunlight and the wind, allowed me to briefly connect.
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  • I took this photograph whilst being filmed for a new ITV series ‘The Strait’ <br />
<br />
The cameraman and I were being bitten senseless by a million midgies as we waited for the tide to rise over these heavily weathered wooden posts. Normally I would have gone exploring whilst waiting for right height for the sea, but the hassle of setting up filming positions meant that perhaps this half an hour was the longest I’ve ever waited for a photograph. <br />
<br />
The strong earlier sunshine had weakened behind a soft bank of cloud, removing the high contrast I wanted. However the gentleness of the light has still worked nicely for me nevertheless. Indeed, there is something more calming and serene about the light and colours in this image than originally anticipated.
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  • Cameracraft Magazine<br />
<br />
East v West photographers in the UK. Lighthearted article interviewing photographers about the differences in weather, light and landscape on opposite coasts.
    Cameracraft - East-V-West Sept 17 p.2
  • A row of terraced houses in Duke Street has formed the backdrop to a unique piece of public art reflecting an important part of the city’s history.<br />
Giant photographs which tell the story of Chinese sailors and their families have been installed on the houses which are next door to the Wah Sing Chinese School.<br />
The buildings, next to Iliad’s development East Village at the top of Duke Street have been derelict for many years but the properties have now been given a new lease of life.<br />
The artwork “ Opera for Chinatown” – has been created as part of a year-long project to create a digital archive of oral histories and family photographs of the Chinese community by artists and oral historians John Campbell and Moira Kenny also known as The Sound Agents.
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  • In a streaming gale Jan and I crossed sand dunes to an almost deserted foam-strewn beach. The waves were heavy and fast and the wind was lifting and hurling foam creatures from the shoreline to the dunes, only avoiding splattering our faces thanks to slipstreaming! The sunlight was broken but when it burst through it was warm and rich, sparkling off the wet sand, backlighting oxygenated suds, waddling their way from the water margin. It was a bitterly cold air-stream sweeping down from the North, and poor Jan looked like a frozen rigid Chilli pepper in her new Paramo coat as I stumbled around on wave-soaked reefs. I was excited by the events in front of me but was ever conscious of my suffering slim companion. The spray was constant and when I looked towards the ancient burial chamber of Barclodiad y Gawres I could see horizontal sheets of spray contrasting with the brooding dark hillside. My lens was covered in spray within seconds and the thickness of salt meant that even specialist lens cloths were not effective at clearing off the saline coating - I accepted that today’s shots would be soft and droplet covered, and actually that no longer worries me these days, as atmosphere always beats detail. I balanced myself on a rock jutting from the pristine sand, ready to shoot the choppy sea but today again, I got caught out by one of those ‘tricksy’ seventh waves, which lifted to knee height which was already 18” above the beach, so this time I did get a boot-full of seawater but also a fun shot in the process - no award winner for sure but a great memory of a moment which had Jan laughing widely, even in her sub zero state :-)We walked on, my boot warming like a winter wetsuit and as I was already wet I resigned myself to further soakings as I haunched just an inch above wet sand to photograph a parade of the foamy suds. Finally we stood atop an isolated black crag in the center of this long sandy beach and we watched larger waves exploding over the offshore s
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  • In a streaming gale Jan and I crossed sand dunes to an almost deserted foam-strewn beach. The waves were heavy and fast and the wind was lifting and hurling foam creatures from the shoreline to the dunes, only avoiding splattering our faces thanks to slipstreaming! The sunlight was broken but when it burst through it was warm and rich, sparkling off the wet sand, backlighting oxygenated suds, waddling their way from the water margin. It was a bitterly cold air-stream sweeping down from the North, and poor Jan looked like a frozen rigid Chilli pepper in her new Paramo coat as I stumbled around on wave-soaked reefs. I was excited by the events in front of me but was ever conscious of my suffering slim companion. The spray was constant and when I looked towards the ancient burial chamber of Barclodiad y Gawres I could see horizontal sheets of spray contrasting with the brooding dark hillside. My lens was covered in spray within seconds and the thickness of salt meant that even specialist lens cloths were not effective at clearing off the saline coating - I accepted that today’s shots would be soft and droplet covered, and actually that no longer worries me these days, as atmosphere always beats detail. I balanced myself on a rock jutting from the pristine sand, ready to shoot the choppy sea but today again, I got caught out by one of those ‘tricksy’ seventh waves, which lifted to knee height which was already 18” above the beach, so this time I did get a boot-full of seawater but also a fun shot in the process - no award winner for sure but a great memory of a moment which had Jan laughing widely, even in her sub zero state :-)We walked on, my boot warming like a winter wetsuit and as I was already wet I resigned myself to further soakings as I haunched just an inch above wet sand to photograph a parade of the foamy suds. Finally we stood atop an isolated black crag in the center of this long sandy beach and we watched larger waves exploding over the offshore s
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  • Another image looking towards Albania from the walls of Pantokrator Monastery on Corfu's highest peak. Driving up to this place was eerie enough with huge drops to the side but doing a three point turn on a lane two cars wide, with a drop of hundreds and hundreds of feet either side certainly brought me closer to God! In fact Carol actually got out the car whilst I made the manoeuvre ! Not helped by the fact the wind was blowing quite strongly on this 3000' peak...What I did like was the absolute simplicity of the place and the amazing light and decoration within the monastery itself. I met a very gentle priest there, who had come outside to the cliff edge to photograph the sunset on his small digi-compact. Again I was taken aback by the contrast between the dark, sombre cloak of this bearded young priest, and his fingers racing across the menu wheel of the camera to show me some of his previous sunsets ! :-)
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  • Trying to avoid the dozens of snappers rooted on Llanddwyn headland, lenses fixed to the lighthouse, I kept my camera in my bag and just enjoyed the view in other directions. On our way off the island however, I detoured to photograph a pool I’d seen earlier and thankfully was completely alone, until I was noticed that is & suddenly people were literally shooting over my shoulder :-(
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  • Stunning views over Langebaan Lagoon in the West Coast National Park on the West Coast of Africa. The crags were quite surreal and quite beautiful, sculptural even. I rarely photograph people but in this case using Jani in the shot really did help with a sense of scale.
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  • I was totally surprised. I rarely visit this beautiful location any more due to the sheer numbers of people heading there to photograph it 24 hours a day. <br />
<br />
With the thick fog of the morning, and it being a bank holiday I had little hope of grabbing a snap without a dozen others there already, but apart from the hamlet of camper vans parked there overnight, there was literally no one near the lighthouse. The early morning start this time had paid off. <br />
<br />
There were moments when I couldn’t see the lighthouse at all, and others when there was temporary clarity, but the pale limestone path formed a wonderful curving connection through the weight of the fog to the lighthouse itself. <br />
<br />
I hand-held all my shots here and escaped before the crowds appeared. I felt for a few brief moments that it was my place once again.
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  • Cameracraft Magazine<br />
<br />
East v West photographers in the UK. Lighthearted article interviewing photographers about the differences in weather, light and landscape on opposite coasts.
    Cameracraft - East-V-West Sept 17 p.1
  • I was totally surprised. I rarely visit this beautiful location any more due to the sheer numbers of people heading there to photograph it 24 hours a day. <br />
<br />
With the thick fog of the morning, and it being a bank holiday I had little hope of grabbing a snap without a dozen others there already, but apart from the hamlet of camper vans parked there overnight, there was literally no one near the lighthouse. The early morning start this time had paid off. <br />
<br />
There were moments when I couldn’t see the lighthouse at all, and others when there was temporary clarity, but the pale limestone path formed a wonderful curving connection through the weight of the fog to the lighthouse itself. <br />
<br />
I hand-held all my shots here and escaped before the crowds appeared. I felt for a few brief moments that it was my place once again.
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  • A Curlew stood near motionless at the tip of the reef.  Between jagged arms of rock floated four large seals, only their loud exhalations of breath betraying their position but then unavoidably noticeable.<br />
<br />
As I gingerly navigated the serrated rocky reef I startled an Oystercatcher that then screeched off across the calm sea.  Other than the sounds of wildlife there was just the gentle splash of near-invisible waves around me as I crouched low to photograph the rising full moon. The dark water came in behind me, silently, and my camera and me nearly became part of the sombre depths.
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  • We arrived at the wreck location, as always in Namibia miles from anywhere. It was a beautiful summer morning, the sand so hot you could not walk barefoot. The wind had furrowed the beach into long undulating ripples, and amongst the patterns lay this small remnant of a shipwreck. It was surreal, a vast tract of soft white sand punctured by shards of rusty broken hull. I loved the incongruity of it all.<br />
.<br />
I shot two frames before out of nowhere a dark Toyota Landcruiser appeared. They could see me photographing but that made no difference. It drove towards me, passengers hanging over the side of the truck, beers in hand, shouting and jeering at me. Their tyre tracks carved up the beautiful white sand surrounding the wreck, ending the shoot there and then. A huge 20 stone fat man sat in an armchair buckled into the rear of the truck; two fat kids and three muscle-bound rednecks pulled faces as their truck circled around to come and carve up even more of the scene I’d been photographing. These were not the sorts of people you’d want to engage with, so I just packed up my camera and without any gestures of annoyance, made my way back to our van.<br />
.<br />
Thankfully I’d grabbed this frame before the morons arrived but the strange beauty, the vivid sense of history in wilderness, had been ruined for me. Such a shame that wherever you go in the world, there always at least one sad individual ready to spoil thing for others.
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  • We stumbled across what we thought was a derelict cottage in the middle of woodland down a tiny track. <br />
<br />
Evening sunlight was pouring through a window beyond, and there was a reflection of the sky and trees in the front windows. I went up to the window &  was shocked to discover signs of habitation. There was even a calendar from 2015 on the wall, yet still I suspected that the place had just been deserted. I took this one image because of the beautiful light and sense of time passing, melancholy almost but imbued with such positive afternoon sunshine. <br />
<br />
It was only then that I heard a car pull up behind us. The very jovial driver was the landowner, and he told us that someone does indeed live there. The tenant is a 75 year old man who refuses to connect any power to the house, even though all the faciities are there. He only has a gas bottle to power his ancient stove. <br />
<br />
This old man has a tiny garden plot over a mile away on a steep cliff side, and he walks there regulalrly to tend his vegetagbles. He has an old car, but that is one of his only links wih modern’ish technology. <br />
<br />
The landowner is in no hurry to move the old gentleman on, and it seems he will see the end of his days in this ancient farmyard cottage, almost off the grid, and I hope deeply happy because of it. <br />
<br />
Next time I’m down, I’d love to photograph the old man himself, if he’d be happy for me to do so. What a character he must be.
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  • I had been to photograph the ancient Roman settlement of Din Lligwy in the rain, but this derelict old chapel moved me most. At one time this building would have been part of the fabric and centre of local community but in an age where materialism and self preservation have become the game it was quite disheartening even as an agnostic that so much of our spiritual being has crumbled with the stone, the trees bearing witness to once was.
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  • In the approaching dark of heavy rain clouds and a biting cold wind, the beautiful and enticing ridge-walk from Pen yr Helgi Du received an unexpected burst of sunlight along its length.<br />
<br />
We debated all the way to its steep northern ascent, but then the heavens opened and we realised we had been very wise to ignore the siren’s call as we headed down to the dark lake in torrential, skin-soaking rain. Even the Gore-Tex rainwear failed in these conditions and we still only just made the van before complete darkness.<br />
<br />
What has always struck me when looking at this photograph, is just how skin-like the hillside appears, like the hide of a huge animal. When you think of just how thin the ‘living surface’ above mountains of solid rock actually is then, effectively, it is just a ‘skin’ which will be affected by the weather and which will change appearance and colour constantly over time.
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  • Not normally a fan of photographing sunsets, but the high viewpoint over the bay, the calm sea and the beautiful natural golden colours were too irresistible to avoid. Very relaxing and meditative to watch as the sun dipped lower.
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  • One of 3 winning entries in the 29th SUN (Shot up North) Awards for full time professional photographers<br />
<br />
Winner - Honourable Mention in 10th (2017) International Colour Awards (Wildlife category)<br />
<br />
A colony of Goose Barnacles has grown attached to a disconnected buoy, now washed up on Llanddwyn Beach, West Anglesey.
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  • James Kirby - Singer Songwriter<br />
<br />
His EP Cover - "The Night is Young"<br />
<br />
Photographed in Menorca - Summer 2015<br />
<br />
www.jameskirbymusic.com
    James Kirby - EP Cover
  • These ancient cobbles seem to have existed for hundreds of years at this North Yorkshire fishing village, and can be seen in all the old postcards and vintage photographs of the area. It was strange to see this historical architectural construction being pummelled by the North Sea, and to imagine how many people in times gone by had stood and watched the sea perform its powers of erosion
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  • These ancient cobbles seem to have existed for hundreds of years at this North Yorkshire fishing village, and can be seen in all the old postcards and vintage photographs of the area. At night, long shadows from fences surrounding historical public houses stretch out across the cobbles towards the darkness and the moonlit landscape beyond.
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  • Available as 3 X A1 Limited Edition; 2 x A2 Limited Edition; then unlimited smaller sizes A3 and A4...Shot on Llanddwyn beach as everyone else was leaving - well it was a bitter cold evening, no sunset, no 'obvious' excitement, but I was utterly connected that evening. In the darkness and solitude I became one with the peace, the dusk, the gentleset lapping sounds at the shore, the occassional oystercatcher calling as it skimmed the sea. I photographed gentle events...© Glyn Davies 2012  All rights reserved. No copying or use on any website is either permitted or implied. Action WILL be taken against infringers.
    GD001398.jpg
  • Available as 3 X A1 Limited Edition; 2 x A2 Limited Edition; then unlimited smaller sizes A3 and A4...Shot on Llanddwyn beach as everyone else was leaving - well it was a bitter cold evening, no sunset, no 'obvious' excitement, but I was utterly connected that evening. In the darkness and solitude I became one with the peace, the dusk, the gentleset lapping sounds at the shore, the occassional oystercatcher calling as it skimmed the sea. I photographed gentle events...© Glyn Davies 2012  All rights reserved. No copying or use on any website is either permitted or implied. Action WILL be taken against infringers.
    GD001396.jpg
  • 3 Edition A1 - 5 Edition A2<br />
<br />
A last minute race to the far coast to catch the last rays of sunshine after a chore packed day which should have been spent photographing anyway! The sky was blue and featureless, even at dusk, but the intensity of light and shadow on the wet beach, amazingly footprint free, was captivating!
    GD001255.jpg
  • A last minute race to the far coast to catch the last rays of sunshine after a chore packed day which should have been spent photographing anyway! The sky was blue and featureless, even at dusk, but the intensity of light and shadow on the wet beach, amazingly footprint free, was captivating!
    GD001254.jpg
  • For landscape photo-artist Glyn Davies, the lost valley of Nant Gwrtheyrn, hidden away on the north-west coast of Wales, was a place of mysterious childhood memories. Then he met Dr Carl Clowes, whose work in the 1970s helped turn the deserted granite-quarrying village into a centre for Welsh language and culture. Their initial co-operation on the production of an illustrated guide-book became, for Glyn, the catalyst for a far more extensive project.<br />
<br />
Nant's human history goes back at least two thousand years; this collection marks yet another period, immediately prior to the next stage in its development. Additional material from Carl Clowes sets the Nant in its historical context, some of it shaped by his own vision.<br />
<br />
But this is essentially one man's response to the many facets of this haunting valley. Glyn's rediscovery of Nant, and his photographic exploration of it, decades after his first visit, have been a complete revelation for him. As he recounts here, for him, it has meant a 'sense of past', solitude and spiritual awareness. It has dramatically influenced his response to landscape, history, cultural identity and language.<br />
<br />
If you know the Nant, you have almost certainly fallen under its spell. If this is your first contact with it as more than a name, Glyn's rich and personal images, even more eloquently than his words, will draw you to it.
    Book - Nant Gwrtheyrn, The Enchantme...jpg
  • A sequel to the Anglesey Landscapes book about the amazing island of Anglesey off the coast of North Wales. Volume II comprises work mainly shot in the year since publication of Volume 1 and is part of a long term exploration of the area photographically, through my eyes as an artist. It is NOT a topographical document of the place. This book is 120 pages and Hardback and contains 52 main plates. It is available from www.glyndavies.com.
    Book - Anglesey Landscapes 2.jpg
  • We have sold 1400 copies of this book, and 100 copies are being removed from sale until January 2025<br />
<br />
<br />
A book about the amazing island of Anglesey off the coast of North Wales.<br />
<br />
This is a long term exploration of the area photographically, through my eyes as an artist. It is not a topographical tourist guide to the island.<br />
<br />
This hardback book is 120 pages and contains 50 main plate images along with a foreword and introduction.
    Book - Anglesey Landscapes.jpg
  • One of 3 winning entries in the 29th SUN (Shot up North) Awards for full time professional photographers<br />
<br />
I had been looking back through some early work and was amazed at how much snow we had in the winter of 2006. Amongst the more natural-looking snowy mountain images I’d taken from the top of Moel Eilio was this one of the Dinorwig Quarries below Elidir Fawr. I was fascinated by the cool purity of the winter snow gently trying to smooth over the vast, ugly, man-made scarring of the mountain’s lower regions.<br />
<br />
The image has almost literally been sliced in half – the softer, wild and windswept upper reaches, and the angular, fractured blackness of the quarries below. Of course, the quarries hold their own fascination in terms of human history, culture and tenacity, but sometimes it’s only from a distance that you realise just how much destruction has gone on. Equally, it’s almost comforting to know just how much beauty still does exist, even within areas that have been so exploited, as here in Llanberis.
    GD001235.jpg
  • Summit of Tryfan in atrocious weather, photographed from Y Braich
    GD001035.jpg
  • Enjoyed a short walk out to Llanddwyn Island in bitterly cold, showery conditions. The sun made a desperate attempt to illuminate the lighthouse but with the tide rising rapidly we made our way back to the main beach to avoid being cut off. <br />
<br />
In a lovely turn of photographic fate, a colourful burst of dusky sunlight caught the towering clouds, which were then reflected on the smooth, lapping waves. <br />
<br />
It’s so easy to be trapped by obvious sunsets, when the subtle washes behind you are in fact far more mesmerising.
    GD002347.jpg
  • Outdoor Writers & Photographers Guild Magazine (June 2014)
    OWPG - June 2014
  • Awarded a discretionary MERIT in the 29th SUN (Shot up North) Awards for full time professional photographers<br />
<br />
Nominee in Fine Art Category / B&W Spider Awards 2017<br />
<br />
Tiny blades of light penetrated the thick armour of black clouds over the Irish Sea. Pierced into soft dunes were short lengths of delicate fencing, resolutely standing their ground in the shifting sand, but gradually becoming eroded by the relentless attack of wind and weather.
    GD002179.jpg
  • I have been captivated by this huge and isolated granite boulder at Land’s End since my early twenties, when I used to spend much time rock-climbing in the area. I’ve even photographed it a couple of times over the years, but today was the day when the boulder best depicted a large head and scowling face staring at the sky above. <br />
<br />
In the darkness of present times he’s saying “Oh my God, what have you let us become?”
    GD002144.jpg
  • Nominated in 10th (2017) International Colour Awards (Advertising category) <br />
<br />
SUN28 Shot Up North Awards winning entry (2016)<br />
<br />
A commissioned shoot for Villa Oleanders naturist villa in Portugal. I photographed just 4 people several times in different scenarios and then pieced a selection of them together in PhotoShop to create a semi humorous montage for publicity purposes.
    GD002160.jpg
  • Photographed for her CD "Penmon"
    Lleuwen-Steffan - Singer / Songwriter
  • This is my 4th & largest book so far. Images are from my wanderings across the intriguingly beautiful regions of Anglesey, Snowdonia & the Ll?n.<br />
<br />
This is not a book 'about' Wales, but instead a personal collection of atmospheric images stimulated by the light, weather & culturally influenced landscape of this spectacular area.<br />
<br />
You may recognise many of the places in this book, but when you study the body of work 'as a whole' you will hopefully notice something else, something unfamiliar - sometimes disturbing, sometimes melancholy, occasionally uplifting - something that has more to do with a spiritual connection to this ancient earth, infinite skies and that fragile thing called 'life'. Welsh Light is more than just an interpretation of a magical landscape; it's a momentary insight into my search for the 'bigger picture'.<br />
<br />
"Glyn Davies is obviously a photographic artist, but he is also a practitioner in total control of the technicalities of his medium. Enjoy this special body of work."<br />
<br />
Roger Tooth, head of photography, the Guardian
    Book - Welsh Light.jpg
  • Available as 3 X A1 Limited Edition; 2 x A2 Limited Edition; then unlimited smaller sizes A3 and A4...Shot on Llanddwyn beach as everyone else was leaving - well it was a bitter cold evening, no sunset, no 'obvious' excitement, but I was utterly connected that evening. In the darkness and solitude I became one with the peace, the dusk, the gentleset lapping sounds at the shore, the occassional oystercatcher calling as it skimmed the sea. I photographed gentle events...© Glyn Davies 2012  All rights reserved. No copying or use on any website is either permitted or implied. Action WILL be taken against infringers.
    GD001397.jpg
  • Nominated for 11th International B&W Spider Awards<br />
<br />
Shot on Llanddwyn beach as everyone else was leaving - well it was a bitter cold evening, no sunset, no 'obvious' excitement, but I was utterly connected that evening. In the darkness and solitude I became one with the peace, the dusk, the gentleset lapping sounds at the shore, the occassional oystercatcher calling as it skimmed the sea. I photographed gentle events...© Glyn Davies 2012  All rights reserved. No copying or use on any website is either permitted or implied. Action WILL be taken against infringers.
    GD001395.jpg
  • 3 Edition A1 - 5 Edition A2<br />
<br />
A last minute race to the far coast to catch the last rays of sunshine after a chore packed day which should have been spent photographing anyway! The sky was blue and featureless, even at dusk, but the intensity of light and shadow on the wet beach, amazingly footprint free, was captivating!
    GD001256.jpg
  • Although I am as guilty as the next person of renting holiday cottages, it is nevertheless such a great pity that these historical and stunningly beautiful buildings are no longer lived/worked in.<br />
<br />
I have seen old photographs of fisher-women in these doorways but now it's only colourful transient tourists who bring any sign of life to buildings which have witnessed so much history.
    GD001079.jpg
  • Just an hour or so to Sennen I boasted, as we left Plymouth that morning, but snailing queues of traffic forced a half way lunch-stop at the 18th Century port of Charlestown on the East coast. Originally constructed to export copper and china clay (from the massive quarries in nearby St Austell), by the 19th century Charlestown saw other businesses flourishing in the dock, such as shipbuilding, brick making and Pilchard curing...Today of course, as with the rest of Cornwall the main industry is tourism, but it still looks and feels like an old port. This is enhanced mostly by several tall ships moored in the dock, such as "Earl of Pembroke" "Phoenix" and "Kaskelot" (which I photographed at Dournenez '88 for Yachting World magazine).
    GD001076.jpg
  • Digital Photographer Iss.38 p.1
  • Digital Photographer Iss.38 p.2
  • Interview with BIPP magazine editor Jonathan Briggs, about my 'Landscape Figures' exhibition in August 2014
    The Photographer AUT 14 p.1
  • Interview with BIPP magazine editor Jonathan Briggs, about my 'Landscape Figures' exhibition in August 2014
    The Photographer AUT 14 p.2
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