Ugne Pouwell

Baltic pine forest -black and white analogue photography, Limited edition of 20.

2023

'Baltic pine' 2021 10 x 13 cm limited edition of 15. Photographed in Lithuania, Giruliai forest using a 4x5 large format camera. Printed on Fine art Hahnemuehle German Etching pape...

'Baltic pine' 2021 The pine forests of the Baltic coast are shaped by conditions that are both precise and unforgiving: sandy soil, constant wind, salt carried inland from the sea, and long seasonal extremes of light and darkness. These forces slow growth and distort form. Branches extend horizontally, twist, or break, adapting to pressure rather than symmetry. This photograph was made in Giruliai forest, Lithuania, using a large-format 4×5 film camera. The process demands stillness and time, mirroring the environment itself. Each exposure is deliberate; nothing is incidental. In Baltic landscapes, pine is not decorative. It is structural, a species that persists where others cannot. Its presence defines the rhythm of the coast and the experience of space within the forest. The image isolates this tension between endurance and fragility, movement and restraint. Rendered in black and white, the work removes seasonal colour and geographic nostalgia, allowing form, density, and light to become the primary language. The resulting image is not a description of a place, but a study of adaptation, how nature holds itself under continuous pressure. Printed as a limited edition of ten, this work belongs to an ongoing body of analogue photographs exploring northern landscapes through minimal intervention and material presence. Photographed in Lithuania, Giruliai forest using a 4x5 large format camera...

'Baltic pine' 2021 The pine forests of the Baltic coast are shaped by conditions that are both precise and unforgiving: sandy soil, constant wind, salt carried inland from the sea, and long seasonal extremes of light and darkness. These forces slow growth and distort form. Branches extend horizontally, twist, or break, adapting to pressure rather than symmetry. This photograph was made in Giruliai forest, Lithuania, using a large-format 4×5 film camera. The process demands stillness and time, mirroring the environment itself. Each exposure is deliberate; nothing is incidental. In Baltic landscapes, pine is not decorative. It is structural, a species that persists where others cannot. Its presence defines the rhythm of the coast and the experience of space within the forest. The image isolates this tension between endurance and fragility, movement and restraint. Rendered in black and white, the work removes seasonal colour and geographic nostalgia, allowing form, density, and light to become the primary language. The resulting image is not a description of a place, but a study of adaptation, how nature holds itself under continuous pressure. Printed as a limited edition of ten, this work belongs to an ongoing body of analogue photographs exploring northern landscapes through minimal intervention and material presence. Photographed in Lithuania, Giruliai forest using a 4x5 large format camera...

Released in spring 2025, Solace is a 192-page hardback by Ugnė Pouwell presenting a composed sequence of black-and-white still life, abstract studies, landscapes and portraits, inter...

Bright Woods - 21st Century Contemporary Photographic Print - Black & White Polaroid, Polaroid Original, Shadow Gapped Frame - Photographic Print on Alumin...

Trees and Mist (Black and White Landscape Photo of Forest in Winter in Finland) by Betsy Weis black and white archival inkjet print on watercolor paper 10 x 15 inches unframed 16.5 x 21.5 inches framed $1250 Photographed in Finland, this black and white archival pigment print by Betsy Weis captures trees in the mist during winter. The forest is softened by the snow and mist that envelopes them and there is a serenity despite the cold conditions of this landscape. This photograph is also available unframed for $950. The image measures 10 x 15 inches. 16.5 x 21.5 inches framed $1250 Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Enchanted Forest, Austria - no. 11496 Archival pigment ink print, limited edition of 10. Printed on Hahnemuehle Photo Rag Baryta. Stamped on the back and signed and numbered by Gera...

'Winter Opus' is a black and white landscape photograph taken near the Chattahoochee River. Additional sizes are available. This listing is for an unframed print, edition 1/10. Richard Skoonberg is inspired by the work of Eliot Porter...