Jamnik

Jamnik in the Fog.jpg

It’s my third time in Slovenia, but the first trip primarily for photography. Something keeps bringing me back to this country; it seems to be a combination of the natural beauty and the fact that it’s still relatively undiscovered, at least compared to places like Iceland, Yosemite, or Norway.

My first trip lasted only three days, just a small portion of an itinerary radiating southwards from Budapest. Even so, it was enough time for me to fall in love with this tiny nation on the eastern edge of the Alps. I brought my family back a few years later and got to see a bit more of the country, but it still wasn’t enough. So here I am, coming in for a landing over Ljubljana just before sunset, fog swirling around the hills and mountains surrounding the town. Eyes glued to the window, I immediately start planning my first photo location. It’ll be tight timing-wise, but based on the research I’ve done—assuming the rental car line isn’t too long—should be doable.

Ice_Bubbles_3.jpg

I’m not sure where to park, but the sun just set and I’m going to miss the rest of the light if I don’t hurry up, so I find a questionably-legal spot, grab my camera bag and start power-walking towards my destination, the Church of St. Primoz in Jamnik. The golden light has already faded—I blame a late takeoff from Istanbul—but the blue hour matches the mood of the foggy atmosphere and the church floodlight adds some color to the scene anyway, so I’m not complaining. A combination of elation of relief overcomes me—I literally throw my head back in laughter—and I get to work. My first dedicated photography trip, it was hard to know what to expect, but two hours off the plane and I’m already getting what I came for.

The Inn 2.jpg

This is a signed 11”x14”print, limited to an edition of 25. Mounted and set behind a bright white mat, it will arrive ready to place in the 16”x20” frame of your choosing.

For this image, I use an archival baryta semigloss fine art paper printed with professional Canon ink. After trying over a dozen paper stocks with various images, I’ve found that this is my favorite for most photos, especially those with prominent dark tones. It offers rich blacks, excellent contrast and sharpness, and subtle tonal transitions. In general, photos printed on this paper have a bit of a three-dimensional “pop” that I haven’t been able to replicate with any other options. A lot of times when we switch from seeing an image on a backlit LCD screen to one printed on paper, the latter can appear rather flat and underwhelming. I actually find the opposite in this case and I’m excited for you to see just how great it can look in-person.

Questions? Shoot me an email at brianwlackey@gmail.com.


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