"Heavy Burden" - New Silver Gelatin Wild Horses of Missouri Ltd. Ed. Collectors Print by Tim Layton
This particular print is very special to me because it is my first silver gelatin fiber print in this new series and I had a deeply moving and emotional experience when photographing this mare right after sunrise on a foggy fall morning.
I am very proud to release this new limited edition collectors print from my Wild Horses of Missouri collection and I can't wait for you to hold it in your hands.
"Heavy Burden" is an emotional and intimate piece of artwork. I felt the heaviness in this strong mare's spirit as I photographed and spent time with her. When you hold this piece of artwork in your hands, I believe you will be transported to a special place and have a sense of her longing to care for her new foal.
In a 21st century digital society it is a rare and uncommon to receive handmade artwork and I hope that you enjoy this special limited edition fine art print as much as I love creating it for you.
LIMITED TIME OFFER
For a limited time, I am offering FREE SHIPPING to anywhere in the world.
MOVIE: THE MAKING OF "HEAVY BURDEN"
"Heavy Burden" is limited edition artwork that comes ready to frame in a standard 11"x14" size making it very easy to display your new artwork.
I use the time-tested dry mount method to attach the 8x10 silver gelatin fiber print to an acid-free mounting board and I custom cut a window over-mat to finalize the presentation.
I take great care in every step of my process to ensure your artwork is something that you will treasure and enjoy for a lifetime.
Title: "Heavy Burden"
Medium: Silver Gelatin Black & White
Paper: Ilford Multi-Grade IV Fiber Classic
Edition: Limited Edition of 250 with a certificate of authenticity
Dimensions: 11x14 (8x10 print dry mounted with an 11x14 window over-mat)
Signature: Each print is titled and signed in pencil along with the edition number by Tim Layton.
Archival Notes: Selenium toned to museum archival standards and dry mounted on acid-free board.
Shipping: The artwork is stored in a an acid-free protective sleeve and carefully packaged between two outer pieces of protected board to ensure it arrives to you safely.
LIMITED TIME OFFER: For a limited time, I am offering FREE SHIPPING to anywhere in the world.
BEHIND THE SCENES STORY
I watched the mare emerge from the forest along the river along with her new foal and other members of the herd. It was just after sunrise when I spotted them. I followed them for the next hour and as the sun was coming up over the horizon the entire herd came close together and started grazing in the field.
I worked my way around so the sunlight was behind her because I wanted that special backlighting to help draw out the emotion that I was feeling. Using my telephoto 600mm F4 lens (12 lbs.) I spent the next hour watching her interact with her new foal while oscilating back and forth between grazing and paying close attention to her foal.
I could instantly sense the care and love that she has for her baby as evidenced by her constant attention and monitoring. It was a long and difficult winter and she looked thin to me, but I also could clearly see strength and resiliance in her spirit too.
After watching this mare interact with her new foal and the other members of her herd, I sensed a "heavy burden". It may be a natural inclination to think burdens are negative or undesirable, and while that can be true, I didn't get that feeling from her. I saw a mother that was committed to their newborn and was willing to do whatever it took to care and nurture her new baby. In this case, I felt like the burden I sensed was beautiful and a good reminder that duty and commitment can be wonderful and inspiring.
I left them in peace and I continue to hold this memory and experience close to my heart.
INFORMATION FOR ART BUYERS & COLLECTORS
I first saw the Wild Horses of Missouri in 2010 and I was immediately captivated. I knew from my very first experience that I needed to learn more about the horses and find a way to tell their story to help protect them for current and future generations.
In 2015, my son and I purchased some land in the Missouri Ozark mountains and built our off-the-grid homes and darkroom.
Long before I made this major change in my life, I envisioned the ability to create artist original fine art with purpose and meaning.
After two years of building our homes, darkroom, and workshops, I finally was able to start searching for the wild horses.
Over the next two years, I learned where the four different herds of wild horses tended to roam and I studied their behavior. I discovered that wild horses are very similar to human beings because they put their family first and show love for them. Each of the horses has a specific role and job in the herd and they also know how to have fun too.
Ten years later from my first encounter and I feel like I am just getting started. I am at a place where I know the land and the behaviors of the herds very well now. I feel great joy following and learning something new with every encounter.
I hope that my joy, respect, love and appreciation for the wild horses comes through in my artwork. It is truly my honor to create this special collectors editions of handmade analog fine artwork for you.
In a 21st century digital society it is a rare treat and uncommon to receive handmade artwork and I hope that you enjoy these special prints as much as I love creating it for you.
PURCHASE INFORMATION FOR COLLECTORS
These limited edition prints are titled and signed by me and they include a certificate of authenticity documenting all of the details.
Each silver gelatin fiber print is hand made in my darkroom using the same process as the legends that came before us like Ansel Adams, Edward Weston, Henri Cartier-Bresson, Alfred Stieglitz, Minor White, and Irving Penn.
Limited Edition Silver Gelatin Print Details
TECHNICAL INFORMATION FOR COLLECTORS
My workflow begins with capturing the wild horses on 35mm film. I typically use Kodak Tri-X or Ilford HP5 depending on the desired contrast and lighting conditions. On occasion, I will use a slower film, Ilford FP4.
I develop the film in a custom-mixed version of Kodak's D-76 formula and the process the film using an archival workflow.
Once the film is completely dry, I need to enlarger the negative so that I can make bigger contact prints. I use one of two methods for making the enlarged negatives. For my analog workflow, I make an inter-positive by enlarging the 35mm film to an 8x10 sheet of Bergger Print film and then I contact print the new inter-positive to an 8x10 sheet of either Ortho, Print, or FP4 sheet film. If I decide to make a digital negative, I edit the scanned negative in Photoshop and then print the enlarged negative on my Epson P800 with Pictorico film.
Once the enlarged negative is created, I make the split-grade darkroom print as shown in the video above. It is a delicate process where I balance my creative vision agains the tonal pallet that is possible with the film, paper, and developer choice.
I follow the same archival workflow as documented by Ansel Adams to ensure my silver gelatin fiber prints are truly archival quality.
Once I am satisfied with the wet print, I then tone each print in Kodak Rapid Selenium Toner to enhance the DMAX and contrast as well as extend the archival properties of the fiber-based silver gelatin print.
I allow each print to air dry on a screen for about two days and then I begin the flatten process which is either under heavy glass plates or I sometimes use my dry mount press.
Once the prints are flattened, I dry mount the 8x10 silver gelatin contact prints on 4-ply acid free museum quality board and cut a custom window mat.
I sign, title, and edition each print in pencil and I include a certificate of authenticity with each print.
In the next few weeks, I will begin offering hand-made wooden frames to make the artwork ready to hang the moment you receive it. More on this to following soon.
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