48X35 Collection

The 48X35 series began as an experiment in scale and intimacy — photographing livestock not as subjects of agriculture, but as individuals deserving of the same compositional care afforded to human portraiture.

The Concept

Each animal was photographed against minimal backdrops, isolating their form and expression from the chaos of the farmyard. The 48x35 centimetre format was chosen deliberately — large enough to command presence on a gallery wall, yet constrained enough to force careful framing and decisive moments.

Working with the Subjects

Unlike studio work with trained models, these sessions demanded patience measured in hours rather than minutes. The cows, goats, and sheep moved according to their own rhythms. The photographer learned to anticipate rather than direct, finding beauty in the tilt of an ear or the steady gaze of an animal sizing up the lens.

Process

Natural light was used exclusively, with reflectors positioned to soften shadows without flattening the dimensional quality of the animals’ features. The outdoor sessions presented unique challenges — wind ruffling fur mid-exposure, sudden movements breaking otherwise perfect compositions.

Printing and Presentation

The final prints were produced on archival cotton rag paper, chosen for its ability to render the subtle tonal gradations in the animals’ coats. Each print was hand-inspected and signed, with an edition limited to twelve per image.

Outcome

The collection premiered at a group exhibition in Athens, where it was met with critical attention for its refusal to sentimentalise its subjects. Reviewers noted the work’s ability to challenge assumptions about what constitutes portraiture and who — or what — deserves to be its subject.

Several pieces from the outdoor series were acquired by private collectors, and the project has since been featured in two international photography publications. The work continues to tour as part of a broader conversation about the boundaries between nature photography and fine art.