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Over the years Graham Hobart developed various techniques by manipulating the way light, composition and detail work together to create images that have all the grit and character of old Victorian lithographs.
This nostalgic look in my work is meant to take your imagination back to a time when artists ventured out into the far reaches of the unknown world and returned with fantastic drawings, paintings and lithographs that described the wondrous beauty of breathtaking landscapes, strange plants, exotic species and unfamiliar cultures.
It is my hope that that rediscovering this feeling of wonder toward the Natural World Hobart will inspire you to do something about the decline of the natural world and reverse the current march to self-destruction.
As a fine art photographer I am committed to selling only one edition of 50 prints for each image regardless of size.
Most photographers sell a number of different limited editions of an image. One edition for each size sold. As a result when an edition is sold out it is tempting to select a new crop and "presto!" a new edition created.
This is something that I think is unfair to the early collectors and ultimately degrades the longterm value of the artist's work.
When 50 images are sold that is it. The edition is closed. There will always remain the option of what do I do with the artist proofs.
I personally print, number and sign each print before framing. Each print comes with a signed certificate of authenticity.
Yes. I spent a lot of time designing a particular framing style that is especially suited to my illustrative look. My design celebrates the beauty of the deckled edge cotton rag that the images are printed on by having it float above the matte.
All materials that come in contact with the print are museum quality, archival products from the adhesives to the mattes. Glazing is always optically coated to minimize reflections and block damaging ultraviolet light.
Purchasing a loose print and framing it yourself is always an option. Shipping framed prints is usually handled though specialty art movers that know how to protect your valuable art.
Click on the button below to learn more about our range of frame sizes.
I don't present my work on paper.
This is because paper is made of wood pulp and is bleached with chemicals to make it white. I am sure you are familiar with how paper progressively yellows as the chemicals degrade over time .
From the very beginning of my art career I chose to only use a heavy 100% cotton rag which is museum-grade and has no chemical brighteners.
My framed prints typically have a deckled edge and float above the matte. This gives them an old-fashioned handmade look.
All of my work is captured within the Infrared Spectrum.
One big advantage of this is that foliage takes on a dream-like appearance because infrared sees green as white. And because infrared sees dark blue as almost black cloudy skies can look quite dramatic.
Ultimately it all comes down to how I interpret what is essentially a rather dull, terra-cotta colored, original image that needs lots of work to render an outcome that has the look and feel of art rather than a special-effects photograph.
Here are a few of the many differences between the way I capture an image in infrared vs visible light:
Together these limitations compound and result in an image being quite challenging. But as you can see sometimes it all comes together beautifully.
When I started my career 4 decades ago I captured most of my work on large format cameras and occasionally medium format.
Nowadays all my images are captured with digital cameras that have been specially converted to only see infrared light.
Up until recently I worked with converted DSLRs but I am now working with converted mirrorless cameras. These newer cameras are totally silent because they don't have a mirror or a shutter and with their advanced focusing technology they reduce the number of rejected images because of failed focus calibrations.
My camera gear is constantly changing but I did publish a video some years ago that shows what I used to take on safari back when I still used digital single reflex mirror (DSLR) cameras.
Click below to see my old equipment.
Nowadays I use mirrorless cameras because they don't have a shutter or a mirror. As a result they are totally silent when I am photographing wild animals. I will eventually do a video at some point.
I do give lectures from time to time but the topics I speak on are typically more about "the why" than "how to".
I used to offer photo-safari workshops in Africa but I don't have any plans to do it again any time soon.
If you have an interest in topics that I speak on or have a request for a topic of your own feel free to contact me by clicking below.
I have seen many changes over the last 40 years as a commercial photographer. At the beginning my medium was large format transparency film.
In the 1980s I developed a technique called "photographic cutaway" as an alternative to the traditional airbrush cutaway technique. It was pretty cool for a while but, like so many things, had to give way upon the arrival of 3D rendering and animations on computers in the early 1990s.
My work took me to incredible places and I met amazing people. Over the years my work has been printed in dozens of magazines from the USA to the Russian Federation.
When I was studying fine art in university I discovered how difficult it is to create interesting images of the female nude. Perhaps this partly due to the fact that the human form is so familiar to all of us making it challenging to make it interesting.
Some of my clients included magazines in the aesthetics industry where there needed to be lots of skin without crossing the line of erotic content.
The way I worked my infrared images make the models look like marble statues.
(Please note that you will have to submit your email address to view the nude collections.)
I am always pushing my boundaries and looking for the next level.
I am constantly asking myself what else there is out there that I can introduce into my work.
Creating exquisite imagery on natural substrates is something I have been working on for a while now.
Laser etching on baltic birch is something that I think might catch some traction.
Each piece is unique because it is a natural product. Heat from the laser boils the sap and gives it a sepia look.
Because of all my editorial photography experience I was very fortunate to start photographing high society weddings right out the gate.
There is always a lot of pressure to get it right but the truth is I have a really good time. Everything is so beautifully put together and everyone is on their best behavior so all I have to do was tell the story in my own way.....and not mess up.
Each wedding has a different feel so each wedding evokes a different response. I always try to deliver the album/coffee table book personally. If I fulfilled my task the images will tell the story and the tears of joy will come easily.
Through the years I have always made a conscious effort to get involved with causes I believe in. It is impossible to get close to the vulnerable without wanting to look out for their wellbeing.
Sometimes I donate my art for fundraising auctions and other times I donate my time.
Some of these causes include funding the Arts, protecting wildlife, helping the poor and helping native tribes regain their autonomy after being taken advantage of.
I encourage you to do the same. You will feel so much better for having done so.
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