Monday, 15 June 2026

Exhibition up and open!

Part of the installation at MoMA
It's always both a relief and a bit of an anti-climax when many months of work and maybe a bit of stress, the prints are all up on the walls. Luckily, the gallery at MoMA Machynlleth have great technicians so they undertook the hanging and did a great job. There's never just one way to hang a show, too many factors have to be taken into account. Size of the gallery, scale of the works, juxtapositions of individual pieces. What will work against what etc.  I had already decided to separate the colour prints from the B&W platinum prints and as there wasn't any particular 'running order' or sequence to adhere to that affected the reading of the prints this was a straightforward hang by most standards.  You can't really influence the way that any visitor will negotiate the gallery so with the best will in the world you just have to take on faith that they appreciate each work as it comes.
Part of the installation at MoMA

'Double hanging' isn't always the best way to put stuff up but in this case, a combination of factors made it necessary. The room we were allocated in the gallery isn't the biggest but neither were the prints too large that they could not be scrutinised at the heights they were hung. Inevitably, there's always a compromise along the way. 

Lighting too is important. A well-lit wall. brings the work to life and clumsy lighting placement or illumination can kill the prints. Again here we were lucky that the lighting worked well. I know from experience that it can take a lot of fiddling and adjusting to get it right.

Part of the installation at MoMA
Print sales are another thing. Pricing is difficult. Sadly, Wales is not the most receptive place for folks to acquire photography so I'm not expecting great sales. The cost of just producing great mounted and framed prints is expensive, and the reality is that even if sales are good, fortunes are never going to be made. The actual material costs are only one factor in the making and production of a finished print. People never quite appreciate that to make work like this, I had to tramp around the landscape in all weathers lugging heavy large format camera equipment  using my skill and judgement to select viewpoint and framing. Not to mention the high level of technical skill needed to bring back high quality images. 

The group of platinum / palladium prints

The platinum prints are yet another thing with regards to pricing. Quite apart from the horrendous cost of the platinum and palladium solutions, we have the added factors of time and extra expertise. The reality is that we can never fully quantify or rationalise how any piece of work may sell. Too many factors are involved including the type of work, the immediate audience for that work, and sadly of course, financial constraints that prevail at any time for the general population. Add to this the prejudice against photography in general being a 'legitimate' art practice and it becomes difficult. However, we plod on regardless! 




 


Wednesday, 10 June 2026

New Exhibition



 Opening Saturday June 13th. At The Museum of Modern Art, Machynlleth, Powys is an exhibition titled 'Impressions of an Ancient Landscape. Features work made in the woodlands around the ancient Cistercian Abbey site at Strata Florida, Ceredigion.

Strata Florida, 2004

I have photographed there before for my 'Wildwood' exhibition and book, but have been invited to make more work there for a forthcoming book and this exhibition. 

Strata Florida, 2004
The original work was in colour and printed as Crystal Archive, chromogenic prints. For the new work, as as a foil to the older work and to bring a new perspective on the location, I photographed in B&W and decided to make platinum prints of the images made. 


Strata Florida, 2026


Working in a very different way meant that I was looking at the woodland in a different way too, and hoping that the juxtaposition of the two styles of photographs shown together will also allow the viewer's minds to wander and gain a new perspective on the particular location.                                                                                                                                                       

Strata Florida, 2026
All these photographs were made using a 10" x 8" camera. The original colour prints made in 2004 were enlarged to about 4 feet wide for that particular exhibition. The current prints are 20" x 24". Platinum printing is a contact printing process so the platinum prints are 10" x 8". 
To see videos of my platinum printing techniques, visit my YouTube channel: https://www.youtube.com/@pete-davis-photography/about
 

Sunday, 26 April 2026

More platinum

Preparing for a new exhibition in June, I have been making new B&W work in the woodlands of Strata Florida Abbey in Ceredigion, mid Wales. 

I have photographed there before some years ago as part of my 'Wildwood' exhibition. Those were colour images but the new work will address some different ideas and invite a different response from the viewers. 
Strata Florida, 2004

The new work will be presented as platinum prints, made from the 10" x 8" negatives. 

As I'm getting older, I have noticed that carrying a heavy 10" x 8" camera with even heavier tripod on my shoulders, plus a backpack with holders, lenses, meter, notebook etc. was getting more difficult. Particularly over rough, uneven and sometimes very soggy ground. So after over 60 years of lugging large format cameras around on my back, I came up with a cunning plan. 

Made from bits of M.D.F. I had around, plus an old garden fork handle and two new pneumatic wheelbarrow wheels for rough ground, I present the Davis patent large format photo trolley. I gave it a good testing last week and it worked well. The box contains everything I need and is padded inside. The wheels worked well, even over rough stony ground and the various soggy bits of the woodland. Still quite hard work but does mean I can spend longer on location than before. Of course, being Welsh I couldn't resist putting a 'tongue in cheek' label on it. 

Maybe the only down side is that whereas before I would carry the camera screwed to the tripod on my shoulder, now, to save the weight on me, I have to take the camera out of the box and screw it on the tripod for every 

Different location I visit. A bit slower maybe, but working with a 10" x 8" was never a rushed affair anyway. Actually, it gives me a bit more thinking time before setting up. I also don't have to ration my kit down to a minimum but I like to keep it simple anyway. 150mm wide angle lens, 240mm sort of slightly wide standard and the 300mm is all I need. I have longer lenses but don't take them on that sort of trekking location. Limited kit focuses the mind and I can visualise quite well with what I carry. Or pull along now! 

Strata Florida, 2025. Platinum Print

The platinum prints are being made at the moment and this is just one of them. I'll post more as the work progresses and more prints emerge. 

You can see me making platinum prints on my YouTube channel:






Saturday, 31 January 2026

New Book

 Just out... 'City Stories' - Photographs of Cardiff, 1969-1977

52 pages, 210mm x 210mm perfect bound book. 

Available in the UK fromhttps://petedavisphotography.bigcartel.com/

Front cover

CITY STORIES


These photographs were part of a series I made in the late 1960's, and early 1970's. They represent random slices of life from the Cardiff streets at that time. They were originally made with no particular project or strategy in mind, other than I recognised that the city as a whole was in a state of flux and it seemed appropriate to document this. Sections of the old, immediate post-war environment and elements of inner city life were, for a while more at least, existing alongside the newer surroundings and atmospheres which were replacing them. Fifty years on from when many of these photographs were made, they have acquired another dimension and now appear as documents and time capsules of another age.

Page 9


As I went about my work as a photographer in the city centre every day, those many transient and sometimes surreal moments that make up the life of a city began to fascinate me. As Garry Winogrand used to assert, 'I photograph things to see what they look like when photographed'. Later, as the images began to accumulate I became aware of how the indigenous population navigated and inhabited this particular evolving urban landscape and environment. While many of these actions were inadvertent on their part, they created, for me at least, many imaginary narratives about their thoughts and lives.

Page 11
The photographs of Splott, where I was brought up and went to school, were made at the time that the main employer in the area - the steelworks - was closing, and the area being pulled apart and re-developed. This was a substantial part of the city not just in transition but about to disappear altogether. Conscious of the very major changes there and the upheaval to the many residents at the time, I would return on numerous occasions to record the street life and the gradual decay and destruction of the urban landscape that I had regarded as home until the mid 1960’s. 

Page 18


Ideas and attitudes to creative work alter as time progresses and reactions to particular images change as they are viewed in a different historical and social context from the ones in which they were created. This applies to my own reviewing of this work for its revival exhibition over forty years since they were last exhibited, in addition to the opinions of others. Accordingly, there are a number of images here that I have ‘rediscovered’ that were never previously exhibited or published before. 


Page 43

Much of the work here may appear to concentrate on the more prosaic elements of the environment. However, photography has the ability to not just represent but to reveal and re-present these in a form that transforms the ordinary into the extraordinary. Bruce Gilden has noted that ‘you find out what’s interesting by photographing it’. I have always loved almost every aspect of life and our environment and it has always been my intention to capture those seemingly mundane moments and surroundings that might pass unnoticed unless observed and captured by a sympathetic eye. 


Page 47