LIMITED EDITION PRINTS
Now you can secure finest quality reproductions of some of Darren's
most treasured works. Accompanied by a Certificate of Authenticity,
these signed and numbered Limited Editions will be much sought-after,
and are sure to make fine additions to your collection.
Learn more about Limited Editions>>
WHAT IS A LIMITED EDITION PRINT?
A Limited Edition (LE) is a fixed number of reproductions
of an original work of art, numbered in succession,
showing the print's number and total edition size (example
1/25) and signed by the photographer. Once a
Limited Edition size is set and printed, no further
copies will be reproduced in that form. Being limited
in number, it is possible that demand for certain Limited
Editions could be greater than the number of reproductions
produced for the edition. The price of individual prints
within an edition often increases as an edition gets
closer to selling out. In the fine art market, once
an edition is sold out, prints are considered to be
on the "Secondary Market". This means that
the print can be sold by the owner or through an agent
or gallery - often above issue price - depending on
supply and demand of course. Limited Editions restricted
to low numbers have the greatest potential to increase
in value.
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Learn
more about Certificates of Authenticity>>
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WHAT IS A CERIFICATE OF AUTHENTICITY?
A Certificate of Authenticity distinguishes authentic limited-edition
reproductions from "posters" or "Open
Editions". The Certificate of Authenticity explains,
in detail, the various factors which contributed to the
production of the Edition. The more details the Certificate
includes, the more value it contributes to the print.
Like the print itself, the Certificate will be signed
by the artist.
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The fine quality achieved through the blending of traditional photographic
techniques and the latest digital imaging technology takes photographic
reproduction to a new level.
Learn
more about printing technique for Limited Edition prints>>
| HOW IS A LIMITED EDITION PRINT
PRODUCED?
The negative is comparable to the composer's score and
the print to its performance. Ansel Adams.
I believe the the best way to bring my clients superb reproductions of
my images is to have complete control of the reproduction
process in-house, using a print system that can achieve
the highest quality available. I now make my prints with
the Epson® 9800 and the Ultrachrome® K3 Inkset, on
museum-quality fine art papers, as are a growing number of the
world's leading photographers and print-makers. These prints
have a life-span equal to, or better than, traditional photographic
materials. I know you will enjoy viewing these prints as
much as I enjoy making them.
Darren Jew.
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cold blue light
Limited Edition of 25 only
75x50cm (30"x20") print AUD$950 / framed AUD$1250
Gentoo penguins feeding, Charlotte Bay, Antarctica 1998
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| Considering there were icebergs scattered in
the bay and the seawater was just above freezing, I felt strangely
at ease sharing some time with these Gentoo penguins, beneath
the surface of Charlotte Bay off the Antarctic Peninsula. Above
the surface it was a perfect day - sun shining, not a breath
of wind, a glassy sea. I had expected these guys to flee the
instant they became aware of my presence in the water, but
instead I was able to quietly slip from the zodiac and make
my way toward them, as they fed just off the fast-ice. Half
an hour passed, and in the end it wasn't the penguins that
fled - my face and hands were aching, and I could no longer
feel the shutter release under my finger. |
Nikonos V with 15mm lens
Fuji Provia 100 |
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Signal Point, Lord Howe Island
Limited Edition of 25 only
50x75cm (20"x30") print AUD$950 / framed AUD$1250
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An incoming tide meets the limestone coast of
Lord Howe Island, Australia 1993
Fed by warm currents from the Coral Sea and cold currents from
the Tasman, Lord Howe Island is a crossroads in the Pacific.
A treasure trove of fauna and flora housed on a 7million year
old extinct volcano, Lord Howe and it's surrounding sea contain
many endemic species of birds, plants and fish that have developed
in isolation. At the southern end of the island, the often
cloud capped twin peaks of Mt Gower and Mt Lidgbird rise to
almost 1000 metres, perpendicular from the sea. To the north,
a sheltered lagoon protected by the most southerly coral reef
in the world arcs around a tiny settlement that is home to
descendants of Captain Bligh's mutinous "Bounty" crew. |
Bronica ETR-s with 50mm lens
Fuji Velvia 50 |
add to cart:
75x37.5cm (30"x15")
unframed
| framed
100x50cm (40"x20")
unframed
| framed
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Soft light on a hard country
Limited Edition of 25 only
75x37.5cm (30"x15") print AUD$950 / framed AUD$1250
100x50cm (40"x20") print AUD$1150 / framed AUD$1500
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Pre-dawn light falls on the Devils Marbles,
Australia's Northern Territory 2003
Even a land as dry, as extreme, as desert as central Australia,
has its quiet moments. These moments are often at night's end,
before the land starts to warm - the desert's smallest inhabitants
retreat to there underground homes and the stars disappear
for another day. The violet glow of pre-dawn softens even the
harshest land. |
Ebony SW45 with Rodenstock Grandagon 5.6/80
lens
Horseman 6x12 roll film holder
Fuji Provia 100F |
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Signposts
Limited Edition of 25 only
75x50cm (30"x20") print AUD$950 / framed AUD$1250
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The South celestial pole, stationary above Chambers
Pillar, Australia's Northern Territory 2003
The earliest navigators used the South celestial pole for guidance
and early explorers in Australia's arid centre used Chamber's
Pillar to re-assure them they were on the right track. To me
they are both symbols of exploration, discovery, wonder and
odyssey. I've long wanted to bring these two symbols together.
Three and a half hours exposure, timed to get only the first
minutes of pre-dawn light.
The clear desert sky;
will bring the darkness to light
with so many stars. |
Canon EOS 3 with 16-35mm f2.8L lens
Fuji Provia 100F |
add to cart:
75x37.5cm (30"x15")
unframed
| framed
100x50cm (40"x20")
unframed
| framed |
water is life
Limited Edition of 25 only
75x37.5cm (30"x15") print AUD$950 / framed AUD$1250
100x50cm (40"x20") print AUD$1150 / framed AUD$1500
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Brindle Creek, Border Ranges National Park,
New South Wales, Australia 1991
Just behind the golden beaches of New South Wales' far northern
coast are the 20 million-year-old remnants of what was, at
the time, Australia's largest volcano. Nowadays, thanks to
forward thinkers and to radical greenies, much of the rainforest-clad
range country in the area is protected as National Park. Together
with adjoining reserves north of the border in Queensland,
these sub-tropical rainforests have risen to international
significance through the granting of a listing on the World
Heritage Register. Compared to the coast, it's always a few
degrees cooler up here. The prevailing south-easterly weather
comes in from the sea and dumps most of its load on these ranges.
Rain that nourishes the forest. Forests that nourish the soul. |
Horseman VH-R with 65mm Nikkor lens
Horseman 6x12 roll film holder
Fuji RFP 50 |
add to cart:
75x37.5cm (30"x15")
unframed
| framed
100x50cm (40"x20")
unframed
| framed |
Connected to your land
Limited Edition of 25 only
75x37.5cm (30"x15") print AUD$950 / framed AUD$1250
100x50cm (40"x20") print AUD$1150 / framed AUD$1500
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Uluru-Kata Tjuta National Park - Living Cultural
Landscape, Australia's Northern Territory 2003
I am told that as an outsider I have no connection with the
land. So I visit a place and I want to find a connection. Though
alien to me, I respect others' connections, and I try to understand
them if I can; but they are not, and never will be, my connections.
I search for a connection on my terms, my portal in to the
landscape. Mine is a visual connection. Superficial for some?
Maybe. But through the lens, I am enveloped in the lay of this
land. I am aware of the sound of the wind approaching. I watch
the light and shade play hide and seek with the landscape -
a game I can't just watch, but must become part of. Away from
the cloisters of the city, the landscape awakens me. I can
be where I want to be, when I want to be there; I need no clock,
no reminder. My connection. Thank you for making me conscious
of it. |
Ebony SW45 with Schneider Symmar-S 5.6/180 lens
Horseman 6x12 roll film holder
Fuji Provia 100F |
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unframed | framed |
Dusk on the south-eastern corner
Limited Edition of 25 only
75x37.5cm (30"x15") print AUD$950 / framed AUD$1250
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Bedarra Island, northern Queensland, Australia
2002
The Family Group of islands lies off Mission Beach in tropical
north Queensland, scattered between the coast and the coral
wonderland that is the Great Barrier Reef. Bedarra is the Mother,
Dunk Island is the Father and sets of twins and triples make
up the rest of the 'family' as described by Captain James Cook
on his voyage north along the east Australia coast in 1770.
It is an island of secluded beaches, tropical rainforest, clear
seas, and a beautifully sculptured granite coast. |
Bronica ETR-s with 75mm lens
Fuji Velvia 50 |
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depths of wisdom
Limited Edition of 25 Only
75x50cm (30"x20") print AUD$950 / framed AUD$1250
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Southern humpback whale calf surfacing, Vava'u
Group, Kingdom of Tonga 2002
A recent addition to the Pacific's humpback population, I met
this calf when he was still glistening a post-natal tone of
silver. Even in this image, taken a few days later, you can
still clearly see the foetal folds in the skin caused by being
cramped-up in the womb. His mother was covered with hundreds
of remora - I'd never seen such a school of hangers' on. So
she was named first. Remora. The calf got his name a few days
later when we discovered how curious he was - always swimming
up to the diver in the fluro orange wet suit, or to the photographer
with the big reflective dome port. And he seemed wise for his
age. Solomon. So be it. It's so easy for us to attach human
traits to wild creatures. A calf that is curious, wise, playful.
A mother that is concerned, caring, responsible. Is it because
we crave an emotional attachment to our fellow species, at
a time when we are so disassociated with nature? We have become
so isolated from each other. But I felt a bond with Solomon.
Especially when he would swim up to me and look me in the face-mask;
I'm sure I heard him ask "why won't you keep up with me?". |
Canon EOS 50 with 16-35mmf2.8L lens in Subal
CE-50 housing
Fuji Astia 100 |
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Along the Diamond Coast
Limited Edition of 25 only
37.5x75cm (15"x30") print AUD$950 / framed AUD$1250
50x100cm (20"x40") print AUD$1150 / framed AUD$1500
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The cliffs adjacent Twin Falls, on the Kimberley's
Diamond Coast, north Western Australia 2003
After 5 days walking in the Kimberley wilderness, we were gifted
this place. From our vantage, I could see hammerhead sharks
feeding around the mangrove fringe, box jellyfish drifting
in the tide, and a 6 metre long saltwater crocodile patrolling
his long-held domain. This is true wilderness, of the tropical
kind. Where it's 36 degrees celcius by 9am, and so humid that
it's almost impossible to be dry at any time of the day, or
night. Where, at this time of the year, too much freshwater
is barely enough. With thanks to my guide and walking companions;
Simon & Margaret, Michael, Shelly, Geoff & Sally, Lawrie & Jill,
Chris & Karen. |
Ebony SW45 with Schneider Super-Angulon f5.6/58
XL
Horseman 6x12 roll film holder
Fuji Provia 100F |
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