Going to the South of France to shoot the famous wild white horses in Camargue was not the dream I expected it to be. It was windy and extremely dusty. Taking pictures of the Swiss Alps from 3000 meters high, on skis, was a lot closer to being a “dreamy” situation. The common denominator between the horses and the mountains covered in snow was the color “white.” Since I only shoot in Black and White, this may not seem to be an important issue because most other colors turn out to be a shade of grey. But I think the pure white color of the horses had an impact on me and therefore inspired me to combine their forms with the white snow. There is no other logical reasoning behind this combination other than the beauty and purity of the white horses and the breathtaking Alps.
Thomas Barbèy prints are developed in a traditional-chemical based process. Note these are not ink jet prints.
Sepia Print: Kodak Professional EnduraMetallic Paper. This gallery grade print has a glossy finish and metallic appearance that creates exceptional visual depth. The print stability is 100 years in a typical home display and 200 years in dark storage (as reported by Kodak Inc.). Sepia prints are numbered and hand signed by Thomas Barbèy.
Black and White Prints: Fuji Crystal Archive Paper. It has a matte finish with a stability of 100 years in typical home display and 200 years in dark storage (as reported by Fuji). These prints are available as an open edition and not signed.
We use the finest wood available. The wood is given a look of forged, hammered metal. It looks like an old pewtered mug one would find in an European castle. The frame will fit well with a contempory environment or a traditional home. The finish is neutral with a width of 2 5/8" and Rabbet 5/8".