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  • Menai Suspension Bridge (Welsh: Pont Grog y Borth) which is a stone built Victorian suspension bridge between the island of Anglesey and Bangor and mainland of Wales. The 100ft high bridge was designed by Thomas Telford and completed in 1826. Here the floodlit bridge spanning the Menai Strait is backed by snow covered Welsh mountains of Snowdonia
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  • Night time fog swirls in from the Irish Sea and up the Menai Strait, enveloping the Menai Suspension Bridge (Welsh: Pont Grog y Borth) which is a stone built Victorian suspension bridge between the island of Anglesey and Bangor and mainland of Wales. The 100ft high bridge was designed by Thomas Telford and completed in 1826.
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  • A year and a half on from my March Mist Series 2003, the Menai Suspension Bridge was once again shrouded in heavy mist. I was down at the water's edge at breakfast time and it was warm but quite eerie. The bridge occassionally disappeared into complete whiteness, but towards the end of the session a ghostly sun gently burnt through the mist, right in between the arch, and gave this wonderful mix of elemental conditions. Ten minutes later and the mist had evaporated to leave a gorgeous day.
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  • Dramatic large cumulonimbus clouds increased over lush rolling hillsides and farmland, whilst the ancient stepping stones navigate the walker across the wide gap of the Afon Braint River near Newborough on West Anglesey. The hills of Snowdonia can just be seen in the distance, <br />
<br />
<br />
Sneezing, coughing and nose blowing, I left the van and with eyes as blurred as looking through milk bottle bases I arrived at these ancient stepping stones. I had enough sense to plan for the tide this time as I wanted to see the stones surrounded by high water unlike my previous shot "Out of Sadness Came Forth Joy". A VERY different story today, and although I was feeling below par, the light was absolutely beautiful, sharp, crisp and intense. The skies were dramatic and the clouds voluptuous and swelling. I took great delight in jumping the stones across the deep blue water, just for the sheer hell of it. The surrounding water was incredibly calm and reflective with just the smallest signs that actually the tide was flooding
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  • I sometimes find myself in dark places and it’s easy to close your eyes to shut it all out, but from out of nowhere I usually become aware of the gentlest glow of light. The delicate light is normally enough to see how to move forward. Once I’ve found the path everything seems brighter and the ominous clouds gradually move back to the horizon.<br />
<br />
The large limestone stepping stones of Rhydd Gaer (The Blood Fort) , cross the Afon Braint River south of the village of Dwyran on Anglesey. The river itself leads to the Braint Estuary where it joins the Menai Strait and Caernarfon Bay. There is little agreed information about the history of these historical stones
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  • A year and a half on from my March Mist Series 2003, the Menai Suspension Bridge was once again shrouded in heavy mist. I was down at the water's edge at breakfast time and it was warm but quite eerie. From this angle, it was hard to see any of the pre rush hour traffic and in the silence, I was able to consider just how old and beautiful this bridge is, and the events and people in history that it's witnessed.
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  • Nominated for 11th International B&W Spider Awards<br />
<br />
This is the sixth of six images within my short 'Genesis' series from my "Landscape Figures" project and exhibition. After the loving connection of "And then there was light" this image was the after effect, the feeling utterly connected to everything, at one with the landscape and at peace with the world. <br />
<br />
In current times we are seeing an explosion of population and an unsustainable demand for the Earth’s resources. We are in an era when self-interest, greed, power, conflict and indifference rule over tolerance, compassion and love. By now as a species, we should be living in harmony with others and our planet. I often ponder upon why we never really learn, and whether anything would be any different if mankind had the chance to start all over again.<br />
<br />
This small set of images is just an imaginary glimpse of two ordinary people, a man and a woman, both naked as the day they were born, finding love and happiness together on a planet budding with new life. This story doesn’t have a sting in the tail. This story begins and will end with harmony between people and their environment. It is just a little gasp of hope within the current darkness.
    Life Connected
  • One of a series of images from my project on doors and windows of the world.
    The Italian Connection
  • 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
  • It's been maybe a year since I last took my Mum & Dad out for a fish & chip evening at the seaside, and I know we all feel we are missing the connection as time flies by and equally is getting shorter. So the other night we made rapid last minute arrangements and a very happy Mum & Dad climbed (almost literally) into my van and off we went. <br />
<br />
The breeze was strong and deceptively cool outside the warm sunlit cab, so with the smell of salt & vinegar pervading the air, and later clothes, we sat and chatted to each other about life & love and family. After washing it down with a nice cup of flask coffee I felt it was daft not to go and check out the lowering sun as it began to set over the impressive wet beach. I left my folks in the comfort of the vehicle and wandered along the huge expanse of flat sand, textile-patterned with watery layers from the retreating tide. <br />
<br />
I am so into my rock climbing these days that I find so much less time to take photos, combined with an increasing awareness that I simply don't want to shoot stuff I've shot so many times before. There was something so sublimely beautiful about the colours, reflections and intensity of light this evening though, that I found myself genuinely enjoying the looking and lining up of simple compositions in the vast emptiness.  I had no tripod for a change and I was able to move fluidly and easily to benefit from the rapidly changing conditions, before all too soon the sun moved behind a huge cloudbank rolling in as it often does, from the Irish Sea. <br />
<br />
I returned to the van happy that I'd taken some pictures for a change, but also aware that I'd missed maybe half an hour of the company of my lovely parents. I'm finding that time is harder than ever to allocate to the things I want to see and do in life, but that maybe small moments of lots of things are more important than long periods of narrow obsession. Actually I don't think there's much choice anymore as the hourglass is more than half empty.
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  • It was a surreal surprise to find a ram’s skull staring at us from the apex of a derelict tin mining power house. This area is littered with the remains of an historical tin mining industry; exploration shafts now just lush grass-covered conical depressions in the wet moorland. Once a noisy hive of activity and ore crushing, but now just the sounds of the wind through gaps in the walls. Likewise the bleating of sheep still echo across the open landscape, but this poor soul has long past, the bone bleached and dripping with hill fog. It’s strange but there is such peace now on the moors and even the saturating low cloud creates a sense of calm not panic, silence not noise. I felt a deep connection with history and the spirit of the place. Dartmoor is minimal and mesmerising.
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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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  • The rain was relentless, coming down in sheets across the sombre Welsh hillsides, soaking the landscape and everything upon it. I’d just walked for hours on the deserted gale-blown mountaintops, alone but strangely happy in my solitude. The river in the valley was swollen, fed by the downpour but tumbled excitedly towards the sea beyond.<br />
<br />
The steadfast skeletal trees transfixed me. Their bare branches were almost still in the breeze and their water-drop laden twigs stretched out like a delta. These skeletal figures were in a sort of suspended animation, hidden life pulsing through the outstretched limbs but waiting to burst out in the spring, months from now.<br />
<br />
I didn’t really want to leave but my waterproofs were now beginning to fail after almost four hours of penetrating bad weather. I could hear the rain on my jacket hood and tiny beads of water now ran down my skin. It seemed that if I moved I’d ruin the silent connection between me and the trees, but I did, and it didn’t.
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  • Nominee in 10th Annual Black & White Spider Awards<br />
<br />
Bitter low cloud shrouded the mountain summit. She lay on the coffin shaped boulder, the cold rock surface pressing into the delicate skin of her back, warmth radiating upwards into the winter air. She said she felt a sense of calm in the blanketed silence of her situation, more aware than ever of her living connection to the earth and the elements.
    Waiting for Spirits
  • In this variation of 'the beginning', a unique and isolated woman is powerful, assured in her sense of place and happy with her life.<br />
<br />
The man is alone too, existing rather than living. The realisation that he is suddenly not alone intrigues him. He is captivated by the idea of someone to share his world. He struggles up the constantly shifting sand, one step up, two steps back, focussed upon reaching, touching, understanding this strange, beautiful being above him who embraced the elements. <br />
<br />
She absorbs the natural energy and revels in the spirit of her environment, but he finds purpose in his life and will tenaciously overcome anything to make connection with her. Together, although they don’t know it yet, they will be as one, a perfect balance of wisdom, spirituality, tenacity, compassion, affection and emotional need for each other. They will feel love and will have found a new purpose for living. What they instil in their new creation, will determine a parallel world to that in which we now exist, a better world. <br />
<br />
"Landscape Figures" explores the relationship between organic human figures and a notional 'wild landscape'.
    The Approach
  • Selected Print for the IN:SIGHT (Washington Green) New Artists Competition 2015<br />
<br />
Nominee in 10th Annual Black & White Spider Awards<br />
<br />
"The woman stood motionless, or so it seemed, her feet slowly sinking into the sticky black leaf litter below the surface. There was hardly a breeze, no movement, just the occasional chirp from the Summer’s last Swallow, breaking the silence at this mountain lake. But when you look closely, you see ripples oscillating away from the woman’s body, continuing almost imperceptibly across the lake. Her energy, her life force was affecting the landscape in a clearly visible, tangible way, utter connection between our living organic form and the earth we come from.”
    Swallowed by the Lake
  • 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!
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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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  • Nominated for 11th International B&W Spider Awards<br />
<br />
Innocence in a dark world where being nude outdoors is seen as sinful. That fact that she was conceived by two naked people; born into the world naked, from her mother’s naked body seemed not to have a bearing on her freedom to enjoy this most natural state. As a young child she would run carefree on the open beach, delighting in not having to wear clothes. She saw other children happily playing naked there, equally without sin - just joyful, smiling and friendly - all enjoying an intimate natural connection to the amazing world that they had been introduced to.<br />
<br />
But as her body developed and her breasts grew, she was expected to cover up. The world now saw immorality in her naked maturity; her nudity became frowned upon; people couldn’t bear to acknowledge her new sexuality or even gaze upon her natural form, fearful of their own sexual confusion and self-control. Her beautiful body must always be covered up, never revealed to others. The incredible and life affirming experience of being naked outdoors had become dirty and immoral – both her body and her real character were now hidden.<br />
<br />
Up here on a hillside however, a bright light appeared, slowly burning through the heavy clouds and she found herself nude. She felt the short grass beneath her feet and gentle sunshine on her back as she stretched her naked body once more, revealing herself completely to the earth, the sky and the elements. She stood on tiptoes, aching to be lifted upwards. She wanted to show the world that she was still alive, still innocent, even in her naked form. There was a discernible aura around this woman and I sensed her natural existence had just been spiritually validated.
    The Revelation
  • Most of my images have featured the individual in relation to their natural environment, but this most recent image contains three nude figures, creating a narrative (or narratives) which should be open to interpretation by different viewers. <br />
<br />
For me as the artist I was fascinated by these naturally occurring caves in huge sea cliffs, caves which really look as though they are dwellings not geological formations. In the early evening sunlight, naked, vulnerable human beings emerge from the caves and revel in the heat of the sunlight and the warmth of the rock of their environment. It was as if I were watching a wildlife programme whilst observing my naked volunteers in this imposing cliff landscape. I like that the rock separates each of the figures, so that they'd be almost unaware of each other, but in the lower caves a man and a woman make a loving connection albeit fragile, whilst in the higher cave a lone female looks towards the light and companionship.
    Scene at the Bare Caves
  • In an old woodland deep in the heart of ancient Britain, a young couple lie together upon deep, lush moss, under a delicate winter canopy of spindly trees. The air is cold and the sunlight weak, but in it’s low rays the lovers hold each other close, sharing body warmth through intimate touch. As they make the closest connection possible in this magical, enchanted forest, silently observed by the spirits of people and community gone by, they don’t feel the cold, only life, love and peace.
    Enchanted
  • Sunset over a pool covered sandy beach at Llanddwyn, Anglesey. In the background are the mountains of Yr Eifl and Tre'r Ceiri on the Lleyn Peninsula.
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  • 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
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  • 3 Edition A1 - 5 Edition A2
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  • Loving Connections” Sennen Cove, Cornwall (Jan 2016) - Fantastic light and wide open spaces on this huge white sand beach in South West Cornwall. I loved the rivulets from the surroundings hills, tumbling across the beach towards the open sea. We have been blessed this trip, with gorgeous light, warm temperatures and super company.
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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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  • 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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  • Nominated in 10th (2017) International Colour Awards (Nude category) <br />
<br />
“It was dusk and a gentle mist hung in the valleys, illuminated only by the last glimmer of Autumnal daylight. There was delicate moisture in the air and a slight dampness on the short grass surrounding the rock. Rich, earthy smells surrounded me, from the bracken and ancient woodland adjacent to the outcrop. Above the sound of a gurgling brook I could hear a thrush singing somewhere in the distance. Apart from that there was relative silence; no cars, no planes, no groups of chatty ‘ramblers on a mission’, just me in what felt like a lost valley. I was alone and had found perfect solitude. <br />
<br />
I enjoyed the feeling of the cool, almost prickly, sheep-mown grass on the soles of my feet, but the rock was warm having basked during a day of unbroken sunshine under clear blue skies.  Although the rocky outcrop looked smooth from a distance it was rough beneath my skin, making my body feel vulnerable to its sharp surface. I enjoyed the sensation nevertheless, feeling utterly and intimately connected to ‘my’ rock, a rock carved by glaciers millions of years ago, scratched and smoothed by the weight of ice, but today it was just me, an insignificant speck on the planet. Yet the planet means everything to me; I feel it, see it, and hear it. It provides for me, nourishes me and I am a part of it nevertheless. <br />
<br />
As the melody of the Song Thrush drifted away, I lay relaxed, supine, as much of my skin surface in contact with the rock as I could manage, facing the darkening universe above. The rock supported me, it seemed as if the Earth itself was carrying me, a fragile, perishable organic figure, exposed to the air and the elements but wonderfully connected to the land"
    Then Came Autumn
  • Evening light illuminates a vast tract of tall marram covered dunes. In the lee of a cool, stiff breeze, two lovers entwine their bodies, heat against heat, warm skin pressed against warm skin, connected as one and oblivious to the stabbing of the needle like grass all about them.<br />
<br />
Shadows rise and fall over their shallow nest in this vast wild landscape as clouds scud by, but in one moment of true glory, rays of sunshine bathe them in warmth as their own heat subsides. There is something just so pure about making love completely naked in the wild, utterly connected in every sensual way to the Earth, the plants and the elements that give us life and enable us to make life.
    Love In the Breeze
  • The rain was relentless, falling in vast sheets across the sombre Welsh hillsides, soaking the landscape and everything upon it. I’d just descended from the gale-blown summits where I’d not seen a soul, but I was more than happy in my wet solitude. I could hear a hidden river tumbling through dark rocks in the valley below.<br />
<br />
The wind drove the rain through the back of my waterproofs as I trudged down the tiny path back to habitation. It was near silent, no calls of birds or bleating of sheep, just the drumming of the downpour on my hood. <br />
<br />
I loved it all. Amidst these huge Welsh mountains that one-minute seemed imposing and soft like a watercolour the next, I felt alive in this huge valley, a tiny, isolated figure moving through an ancient glaciated landscape. These are times and conditions when you feel humbled by the elements and connected to the earth.
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  • Nominated image in the 13th Black & White Spider Awards 2018<br />
<br />
The early morning light shimmered off the wet sands of the estuary. Noisy waders skimmed over the wide flats in the hunt for feeding grounds. Dark clouds brewed ominously on the horizon behind us and gathered slowly over the mountain peaks.<br />
.<br />
The woman had walked towards me from the distant sand dunes, aware that the tide was rising rapidly, flooding the expanse of the bay behind her. She stood at the water’s edge, long grasses puncturing the the smooth mirror rising around her. She felt the first chill of the breeze from the weather front and clasped herself, yet the sea was still warm after summer rays. She gently, though purposefully stirred the water with her feet, crossing one leg in front of the other as she did so, enjoying the sensation of liquid resistance against her skin. I studied the ripples flowing away from her, small waves of her spiritual energy connecting with me and the shoreline. As the tide rose to her thighs the mud softened beneath her. Under now darkening skies she continued on her journey, passing me by and heading for the sheltered woodland behind me.<br />
<br />
Taken whilst being filmed for the ITV series ‘The Strait’ being broadcast from 5th January 2018
    Gently Stirring the Tide
  • Deserted mountain dirt tracks on the mountain tops of the Keurbooms Corridor that connects the Garden of Eden section of the Garden Route National Park to the Tsitsikamma National Park section. NE of Knysna.<br />
<br />
As we climbed higher into the mountains the sunshine disappeared and a welcome cool cloud surrounded us. The vegetation up here was incredibly varied and abundant. Around this corner I ended up standing on a crossroads surrounded by wild Baboons as I was pre-occupied with the ‘Calling the Herd’ sound sculpture by Strijdom van der Merwe. <br />
It is sad that this corridor from Knysna to Addo used to be used by 1000s of elephants, but since colonisation they have all have been hunted to near extinction in these amazing valleys, that are otherwise still rich in biodiversity. There are no elephants left wandering this area and the Knysna elephants are no more. The ‘death warrant’ was issued and carried out on the tiny remaining population by ruthless hunter Major Pretorius, but even the British Royalty including the Duke of Edinburgh spent days hunting and killing these amazing animals.
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  • Between 300 and 400 wagons of iron ore are pulled by up to eight locomotives in a huge behemoth of a train on this Ore Export Line. The train connects the iron ore mines near Sishen in the Northern Cape with the port at Saldanha Bay in the Western Cape. I’ve never seen such a long train ever. The total vehicle length stretches for over three miles and took an age to pass under the bridge below my feet. Everything about Africa is huge but this gigantic train really gave some emphasis to the vast distances between destinations here in South Africa.
    GD002169.jpg
  • Nominee in Nude / B&W Spider Awards 2017<br />
<br />
There is always something special and deeply sensuous about touching wild water. The woman stretched her body and gently, slowly, rolled across the wet sand with no more than an inch of water beneath her slender body. Her long raven hair whipped in the warm West wind blowing down the estuary from the sea beyond the dunes. She revelled in the feelings; embraced by the elements; sinking her fingers into the saturated earth and pressing her flesh against the estuary, becoming a part of it, connected to it, supported by it. Droplets trickled over every inch of her body making the wind feel cool, goosebumps raised on her delicate skin, making her even more sensitive to the air around her. She was invigorated, purified.
    A Roll In Landscape
  • Sunlight dappled through the woodland canopy, creating a richly coloured theatre in the round within the nature below. Summer warmth was exiting Stage Left. There was a buzz in the woodland auditorium, from a system of seemingly motionless Hoverflies, and a songful Blackbird gave a curtain call after devouring Blackberries ahead of Winter. Not to be upstaged, two Chaffinches on the wing could be heard calling to each other whilst flitting between trees.<br />
 <br />
The nymph moved gracefully and silently through the Autumn bracken from green room to centre stage, her steps cushioned by lush, soft undergrowth. Her flesh connected with the trees and she gently rubbed her thigh against a soft, moss-covered trunk before sliding her hands up and around the growing wood. Her body savoured the sensual sensation and she looked to the Gods in thanks but to me, watching from backstage, she was no fallen star but a minor goddess in her own limelight"
    Woodland Nymph
  • “It’s the season of mist and fog, as remnants of warm air linger throughout autumn and into winter, caressing the cooling, softened landscape. Yet the weather can still be uplifting for those who are aware, for the gentle flow of condensed air carries resonant memories of sunny days, laughter, friends and cold wine. Ahead we look forward to the new life that spring brings and we build powerful and positive dreams for hot days to come and another clothes free summer. <br />
<br />
So winter is neither frightening nor negative, though understandably will be for some poor souls, but in it’s own way it’s a dramatic and wonderful cleansing, wiping the slate clean for the year ahead. For those of us lucky enough to be healthy & able, we should revel in the sensuous conditions of autumn and wrap ourselves in its elemental cloak to truly feel connected to the changing seasons.”
    Mist Touches
  • It was mid-winter and I found myself wandering in dark, ancient mountains. Amongst ice-cold waterfalls, with snow clinging to patches of nearby riverbank knelt a woman hunting for fish. However when I studied her more closely, I noticed that she was actually looking at her own reflection in the water, gently tracing the outlines of her face with her fingertips on the mirrored surface.<br />
<br />
So delicate, tiny and primitive looking in her surroundings, but through the simple act of recognising one’s self, one’s existence, she was utterly connected to her hostile environment.
    Against All Odds
  • Above me the canopy of an historic forest, leafy and green. Life sprouts from the twigs and branches of the old, twisted trees. In the humid, morning heat, midges were abundant, silently irritating - biting exposed flesh. Even with burning sunshine baking the treetops, the forest floor held shadows. It was silent apart from the gentle buzz of hoverflies and honeybees. <br />
<br />
Between light and dark, coolness and heat stood a lithe young male, arching upwards and backwards, his own limbs mimicking the tree on which he tiptoed, blended, connected and in balance – with everything. He remained unbitten, unfazed and confident in his masculinity and strength. He moved away from me swiftly, gracefully, focussed on his search for Eve.
    Almost Eve
  • 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
  • My wife Carol introduced me to this beach a few years back. This is a place full of childhood memories for her, of long walks from Llangoed, of play, of love, or parties of romance. For me, it has no such memories but the irnony is that if I ever came back here in years time without Carol, this beach would now become a place for me to be connected not ony to her, but also to HER memories, the events she told me about,the childhood she enjoyed, and some of the names of her friends. This beach will always be Carol's beach, "White Beach"
    GD001307.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!
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  • What a difference a season makes. In the summer this beach is busy with tourists, swimming, kayaking and paddle boarding on the water; families eating fish & chips on the sea front and dozens of walkers perambulating along the seafront, but in Winter, it feels vast, empty and exposed. The full force of the wind howls onto this beach from the Irish Sea and the mountains behind seem darker, higher and more ominous. The ancient hill fort s gradually being eroded away, now less than half the size of the original, and hardly surprising when you watch the waves relentless attacking the base.   <br />
<br />
The wind was so strong that the sea became a conveyer of fast, foamy white waves that pushed far up the beach on every landfall. My feet got soaked as the water wrapped around my legs time after time but it was all part of the amazing experience of feeling connected to winter as much as the landscape itself.
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  • Really lush and varied vegetation on the mountain tops of the Keurbooms Corridor that connects the Garden of Eden section of the Garden Route National Park to the Tsitsikamma National Park section. NE of Knysna.<br />
<br />
As we climbed higher into the mountains the sunshine disappeared and a welcome cool cloud surrounded us. The vegetation up here was incredibly varied and abundant. Around this corner I ended up standing on a crossroads surrounded by wild Baboons as I was pre-occupied with the ‘Calling the Herd’ sound sculpture by Strijdom van der Merwe.<br />
<br />
It is sad that this corridor from Knysna to Addo used to be used by 1000s of elephants, but since colonisation they have all have been hunted to near extinction in these amazing valleys, that are otherwise still rich in biodiversity. There are no elephants left wandering this area and the Knysna elephants are no more. The ‘death warrant’ was issued and carried out on the tiny remaining population by ruthless hunter Major Pretorius, but even the British Royalty including the Duke of Edinburgh spent days hunting and killing these amazing animals.
    GD002244.jpg
  • A male baboon in a dead tree on the mountain tops of the Keurbooms Corridor that connects the Garden of Eden section of the Garden Route National Park to the Tsitsikamma National Park section. NE of Knysna.<br />
<br />
As we climbed higher into the mountains the sunshine disappeared and a welcome cool cloud surrounded us. The vegetation up here was incredibly varied and abundant. Around this corner I ended up standing on a crossroads surrounded by wild Baboons as I was pre-occupied with the ‘Calling the Herd’ sound sculpture by Strijdom van der Merwe.<br />
<br />
It is sad that this corridor from Knysna to Addo used to be used by 1000s of elephants, but since colonisation they have all have been hunted to near extinction in these amazing valleys, that are otherwise still rich in biodiversity. There are no elephants left wandering this area and the Knysna elephants are no more. The ‘death warrant’ was issued and carried out on the tiny remaining population by ruthless hunter Major Pretorius, but even the British Royalty including the Duke of Edinburgh spent days hunting and killing these amazing animals.
    GD002245.jpg
  • After an unpromising start on a cold grey day, and my hip playing up for the first time in a year, serene sunlight glowed underneath the swirling low cloud shrouding the summits.<br />
.<br />
It’s moments like this that make my day, that lify my spirits and paint away the anxiety and anger over the stupidity of human kind. I need the solace that the hills offer those who seek it. I love the solitude as it’s further escape from the nonsense that is current society. Thankfull I didn’t see many fellow walkers, and those I did, bar four, were the grumpiest sods. They never ackowldeged me or my warm greeting, choosing instead to pretend I didn’t exist. Sign of the times. The mountains however welcomed me glady as always, and I felt part of them and utterly connected to them and the elements.
    GD002347.jpg
  • Utterly calm conditions over the Menai Strait, near Beaumaris on a warm Spring morning. The only obvious movement was the flight of waders and seagulls as they swooped over the mirror like surface of the sea. Indeed there was near silence apart from their calls to each other. The enormous limestone headland of the Great Orme almost looked like an island as soft mist obscured the low strip of land that connects it to mainland Wales. <br />
<br />
This was one of those mornings that fills me with positivity, physical warmth and hope for more glorious days in the summer ahead.
    GD002237
  • The summit of Snowdon peaks above a huge cloud bank and convection clouds building over Nant y Betws, Rhyd Ddu and the mountain of Mynydd Mawr.
    GD001824.jpg
  • There is something truly spiritual and liberating about being completely alone in the mountains. I only saw one person all day and apart from him I was completely undisturbed. I was able to watch cloud shadows scudding across the landscape, blown by bitter Easterly winds. I bathed in beams of sunlight that were lucky enough to break beneath the dark skies. The hills felt like they were mine. The grasses waved at me and the weather offered itself as a theatrical performance for me alone. Every step I took and every breath I made in the clean air connected me more fully with the planet; every downhill slope made me smile and even the tiredness of my leg muscles was a welcome reminder that I was alive and that the world still has beautiful things to offer. Living so close to the mountains, and equally so close to the sea, is almost like living in paradise.
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  • Deserted mountain dirt track, the (R339) on the mountain tops above the Keurbooms Corridor, which connects the Garden of Eden section of the Garden Route National Park to the Tsitsikamma National Park section. NE of Knysna.<br />
<br />
As we climbed higher into the mountains the sunshine disappeared and a welcome cool cloud surrounded us. The vegetation up here was incredibly varied and abundant. Around this corner I ended up standing on a crossroads surrounded by wild Baboons as I was pre-occupied with the ‘Calling the Herd’ sound sculpture by Strijdom van der Merwe.  <br />
<br />
It is sad that this corridor from Knysna to Addo used to be used by 1000s of elephants, but since colonisation they have all have been hunted to near extinction in these amazing valleys, that are otherwise still rich in biodiversity. There are no elephants left wandering this area and the Knysna elephants are no more. The ‘death warrant’ was issued and carried out on the tiny remaining population by ruthless hunter Major Pretorius, but even the British Royalty including the Duke of Edinburgh spent days hunting and killing these amazing animals.
    GD002166.jpg
  • At sunset, a standing wave, created where the 'Inland Sea' (a narrow strait of water separating Anglesey from Holy Island), connects with the open Irish Sea and the currents interact.
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  • "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"
    Wall of Fog
  • The air was warm but the sea was cool. A weak sunburst gently broke through the gloom on the horizon. There was hardly a drop of wind over the calm green sea so the wave surfaces were smooth and glassy. <br />
<br />
There were a handful of motionless, statue-like figures at the water’s edge, small posts of resistance against the incoming tide, but one woman stood out. She was beautiful; lightly tanned skin; petite but womanly figure; long, wet, bedraggled hair and clearly the most youthful of shoreline sculptures. Her head was tilted backwards so she could neither see behind her, nor me watching. I noticed an almost imperceptible tremble in her limbs as the wave energy approached her. Involuntarily her figure lifted as she rose to her feet whilst the wave wrapped higher around her legs, from calves, to thighs to buttocks - her arms tensed, balancing herself but also in defiance of the coolness of the water engulfing her body. As the wave fizzled on the sandy shoreline her body relaxed once more, before repeating the process. We often fear what we can’t see, but so often the unexpected can bring delight, excitement and the thrill of the new; of being alive and connected to the earth and water.<br />
<br />
From my "Landscape Figures" project
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  • SUN (Shot Up North) Awards 2015<br />
1 of my 4 winning entries <br />
<br />
Selected Print for the IN:SIGHT (Washington Green) New Artists Competition 2015<br />
<br />
International MONO Awards 2014 - Honourable Mention <br />
<br />
"Alone on a mountain top, surrounded by swirling cloud and the threat of heavy rain, a healthy young woman, soft and curvaceous, cowers from the elements in a rough, sharp, rocky outcrop. She is vulnerable, tiny and organic, but she also looks strong, inquisitive, almost daring - what if she were to face the weather, to leave her scant shelter? To stand naked on a wind blown summit, wrapped in vapour and then rain, is liberating in the extreme - a time to feel utterly exposed yet totally connected at the same moment, never feeling more at one with the great outdoors" 
    The Fear
  • Nominated image in the 13th Black & White Spider Awards 2018<br />
<br />
An old tree appears contorted and tired. It sags under the weight of years of observation of time and events. Its smooth silver bark still reflects light even on a dull day and it continues to hold an attraction.<br />
<br />
A lithe woman connected with its old arms, which supported her as she suspended herself. Her young figure curved to echo the old, as one, though she had witnessed so little in comparison. Her body stretched, her spine felt good and her shoulders strong.<br />
<br />
As the wind blew, the tree creaked and the leaves rustled. Almost imperceptibly she started to move with the wind, gently swinging back and forth in the breeze. She was a brief beauty that would soon fall to the earth but in the meantime she was as magical as the tree itself, two very different lives as one.
    The Copse
  • A delicate girl perches bird-like in the arms of an old tree.<br />
<br />
She never really knew her mother, tragically torn away from her when she was no more than a baby.  But in a way, her mother still exists within every breath of her beautiful daughter. They were always connected; the blood and genes still flow and will continue to do so as mother becomes grandmother and daughter becomes mother.<br />
<br />
The strength of the tree is as much in its roots as its wide trunk and thick branches. Even though twigs will break off and beautiful leaves fall to earth, the lifeline continues. The tree appears similar, even after the wonder of a million new leaves but that same original life flows into every one.<br />
<br />
She likes it here, even in the bare nakedness of the tree’s winter form. She understands time. She can feel life beneath her feet and soon she will feel life within her womb. She knows that despite appearances, life goes on and her mother is always with her.
    In Mothers Hands
  • Nominee in 10th Annual Black & White Spider Awards<br />
<br />
SUN (Shot Up North) Awards 2015<br />
1 of my 4 winning entries <br />
<br />
A winning entry in the MOMA Wales Tabernacle Art Competition 2015<br />
<br />
International MONO Awards 2014 - Honourable Mention <br />
<br />
Selected Print for the IN:SIGHT (Washington Green) New Artists Competition 2015<br />
<br />
_______________________________________<br />
<br />
On a rocky mountain summit a young woman was about to fly. It was the first time she'd been up a mountain and the first time she'd truly 'felt' her world. Before taking off she revealed more.<br />
<br />
She said that being naked made her feel truly connected to landscape. To be able to feel wind and rain, warmth and cold; to feel stone beneath your feet and wind in your hair. The truth of existence.
    First Flight
  • Lost in a dark and very ancient valley, a man gives up hope, wandering barefoot and directionless. He leans back against a tree, his head in his hands and he doesn’t see the trunk bend to accommodate him, to ease the pain, to cradle him. He doesn’t see the hawk like face in the stone of the stream behind him, opening her eyes, aware that another creature had spiritually connected. The dark hills crowd around but he doesn’t realise that they are buffering the cold wind. The grass is short and soft and he is hardly aware of the warm carpet it has provided. He remains curled as the gurgle of trickling water in the brook pacifies him. A blackbird sings a melody in nearby woodland before a silent dark blanket gently pulls overhead. By dusk he finds peace and a sense of direction. He stands up, walks tall and purposefully and is suddenly acutely aware that he’s been comforted by nature, at one with the earth and in his natural element.
    Comforted by Nature
  • She is powerful; a woman of the mountains, born below this very hill. Half a century on, she is once again naked and as amazing as the day she was born. Almost literally a part of the land, her figure echoes the terrain whilst the spirit of her childhood still whispers in the long grass. These mountains will exist millions of years beyond the blip of human life, but I sense that the spirits of those who have connected to this land will remain eternally.
    At Home On the Hill
  • The boulders feel cool and smooth to the touch, pressing into his body, supporting his limbs. Formed over eons rather than decades, rounded and smoothed by the forces of nature, buried and then uncovered only to be further eroded. There is similarity between all of them, yet each holds characteristics of their own. He lies amongst them, at one with them and they feel familiar and comforting to him.<br />
<br />
Morning sunlight spills onto his naked body in this dark cove, warming his skin in contrast to the cold boulders beneath. He feels more alive than ever as he soaks up the heat. His chest rises and falls as he breathes. His fingertips gently touch the surrounding stones and he can feel an almost imperceptible change in their temperature too. He connects with geological time.
    Amongst Friends
  • SNIP from Blog: "Then something happened. The light changed. I noticed a hint of sunshine in the far distance over the Great Orme at Llandudno. I sprinted down from the light and from thinking the day was over, I was becoming excited again. On my way back to the beach, I realised that half the island was in fact black, gorse-burnt swathes of grassland. Amongst the smoky dark cinder-land were veins of pale sandy tracks connecting main footpaths. They looked wonderful in contrast, small defined limbs amongst the ravaged land."
    GD000903.jpg
  • "Then something happened. The light changed. I noticed a hint of sunshine in the far distance over the Great Orme at Llandudno. I sprinted down from the light and from thinking the day was over, I was becoming excited again. On my way back to the beach, I realised that half the island was in fact black, gorse-burnt swathes of grassland. Amongst the smoky dark cinder-land were veins of pale sandy tracks connecting main footpaths. They looked wonderful in contrast, small defined limbs amongst the ravaged land."
    GD000900v2.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.
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  • 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
  • My wife Carol introduced me to this beach a few years back. This is a place full of childhood memories for her, of long walks from Llangoed, of play, of love, or parties of romance. For me, it has no such memories but the irnony is that if I ever came back here in years time without Carol, this beach would now become a place for me to be connected not ony to her, but also to HER memories, the events she told me about,the childhood she enjoyed, and some of the names of her friends. This beach will always be Carol's beach, "White Beach"
    GD001308.jpg
  • I couldn't help but be impressed by the beautiful rounded shapes of these granite marbles, created by years of being rolled around in this organic looking chasm. This image was used as the main publicity image for the Celtic Connections touring exhibition which started in 2005 at Oriel Ynys Môn.
    GD000479.jpg
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