Christopher Harrison Photography
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Under the Shadow of the Buachaille

Glencoe · Winter
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The cloud inversion during this sunrise was spectacular, with the sun managing just to break through to backlight the iconic Lagangarbh Hut (the wee white house) in the Glencoe Valley, with a huge shadow behind from the Buachaille, shrouded in the fog. To help soften the colours, I converted this to Black & White, as I think it best represents this scene.

Camera
Sony α7R IV · Sigma 14-24mm F2.8 DG DN Art
Settings
1/160s · f/11 · ISO 100 · 14mm
Captured
2 December 2023
Shape
landscape
Appears in
Awarded PhotographyWinter Photography

About the prints

For me, printing is the end of the photographic journey. You've done all the hard work, edited the files and reviewed them. Seeing the photograph come out of the printer is the reward. The depth of colour from a printed photograph beats seeing it on a screen a hundred times over. Bring the story and this experience home with you with a fine art print from my portfolio.

Bluebells at Sunrise Printed on A4
Bluebells at Sunrise printed on A4 Fotospeed paper, editioned, titled & signed.

Each fine art print from my website is printed by me at home on my Canon Pro-1000 professional printer. To ensure the best prints possible, I use Fotospeed paper. This is archival grade paper, ensuring accurate colour representation. I then sign, edition and package the prints and get them posted to you. With this in mind, please allow up to 10 days for dispatch. If there will be any further delay to this, I will let you know via email - such as if I am on a trip away and it will be longer for dispatch.

If you do have specific requirements please let me know via the contact me form, and I will endeavour to solve any queries or requests. For example, if you need the print quickly for a special occasion, just let me know, and I will try my best to make it happen!

Bluebells at sunrise printed a4 with the edition number in the bottom left corner
Showing the detail of a print - you can see all of the details of Bluebells at Sunrise up close.

Not everything I’ve photographed is in the shop. If you’ve seen something on Instagram, in a gallery here, or at an exhibition that isn’t listed, just ask.

Why there's a border

The print will come with a white border around the photo to allow space for editioning and signing. This will also make it easier when you come to frame & mount your photograph, giving some flexibility. I sign the prints in an archival permanent marker, so it'll never fade.

Signing and editions

Every print is signed by hand in the lower border. Where a photograph is issued as a limited edition, each print is numbered, and once the last number has sold I never print that photograph at that size again. I print, sign and pack every order myself.

Read more about how they're made →

More from this collection

A temperature inversion fills the Thames Valley lowlands with layered fog, isolating copses and conifer ridgelines as dark silhouettes against luminous white. Shot from elevation above Henley-on-Thames in late January, the compression of a long focal length stacks the receding planes into near-abstract bands of tone. A church spire emerges faintly at mid-distance, the sole human measure in an otherwise elemental scene.
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Bare beech trunks recede into dense fog on a still January morning in the Chilterns, Oxfordshire, the cool blue cast of pre-dawn light flattening the woodland into successive planes of tone. Fallen leaf litter on the forest floor anchors the foreground, while the mist erases all distance beyond the middle canopy. The restrained palette and rhythmic spacing of the trees give the scene a graphic quietness rarely achieved without a clear structural accident.
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A small cluster of bare-branched trees crowns a rounded hilltop as ground fog rolls across the mid-distance, backlit by low winter dawn light that saturates the scene in deep amber. The silhouetted treeline of a wood in the background adds a second horizontal layer, reinforcing the sense of depth within the inversion. The dark foreground slope anchors the composition and throws the illuminated fog bank into sharp relief.
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A small copse on Brightwell Barrow, near the Wittenham Clumps in Oxfordshire, emerges from a shallow temperature inversion across the farmland, January 2026. Low winter sun catches the fog from the east, reducing the landscape to a single silhouetted subject against a field of luminous amber. Tractor lines in the crop below anchor the image to the agricultural plain being consumed by the mist.
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