| The Virtual Absinthe Museum Web Shop |
| Limited Edition Art Prints from Master Rock & Roll Photographer Damian Hevia |
Technical information:
These images were photographed. That is to say, they were not made up on a
computer. They were captured with a Kodak PRO 14N/x digital camera using
standard Nikon lenses. The light sources were electronic flash. I wanted to
make the light appear as natural as possible so I used "soft boxes" to diffuse
the key light and reflected light to provide the "fill". The louche was shot through
a small glass tank I made and about 4 days of trial and error. “Clarity” was shot
by literally putting the faceted glass bowl of the fountain over my lens and
moving the bowl until I was able to combine the effects I desired. Composition
along with placing the elements (spoons, glasses, dishes, etc) in the frame
where they could be seen clearly at the same time achieving the right amount of
distortion. This also took several days. “L'Heure” was photographed literally
through a window sash that was laying around in the studio. The sash was
missing one of the four panes of glass. The others were good and dirty. I left
them that way and used this to add a little interest. Basically the window was
suspended in the air between the camera and the setting. I lit the scene to
make it look like what you might see in a dimly lit room if you looked through the
window. I was really looking for the quality of light Vermeer achieved in his
paintings. I had just seen the movie, The Girl with the Pearl Earring. A friend
accurately described that film as a still photographer's fantasy. Yes, there is the
beautiful Scarlet Johansson but I refer here to the way the scenes were
composed and lit throughout the film. It is a beautifully shot film.
With this set our idea was to create prints of the finest quality we could produce.
All elements of the printing process were chosen to bring the vibrancy and
luminance the photographs possess to the final product.
These images were photographed. That is to say, they were not made up on a
computer. They were captured with a Kodak PRO 14N/x digital camera using
standard Nikon lenses. The light sources were electronic flash. I wanted to
make the light appear as natural as possible so I used "soft boxes" to diffuse
the key light and reflected light to provide the "fill". The louche was shot through
a small glass tank I made and about 4 days of trial and error. “Clarity” was shot
by literally putting the faceted glass bowl of the fountain over my lens and
moving the bowl until I was able to combine the effects I desired. Composition
along with placing the elements (spoons, glasses, dishes, etc) in the frame
where they could be seen clearly at the same time achieving the right amount of
distortion. This also took several days. “L'Heure” was photographed literally
through a window sash that was laying around in the studio. The sash was
missing one of the four panes of glass. The others were good and dirty. I left
them that way and used this to add a little interest. Basically the window was
suspended in the air between the camera and the setting. I lit the scene to
make it look like what you might see in a dimly lit room if you looked through the
window. I was really looking for the quality of light Vermeer achieved in his
paintings. I had just seen the movie, The Girl with the Pearl Earring. A friend
accurately described that film as a still photographer's fantasy. Yes, there is the
beautiful Scarlet Johansson but I refer here to the way the scenes were
composed and lit throughout the film. It is a beautifully shot film.
With this set our idea was to create prints of the finest quality we could produce.
All elements of the printing process were chosen to bring the vibrancy and
luminance the photographs possess to the final product.
All three photographs - L'Heure, Clarity and Louche 1 - as a set, in a limited edition of 250 copies.
Each photograph is signed and numbered by Damian Hevia,
All three prints are printed on 13” x 19” (330mm x 483mm) sheets, also known as Super A3/B sheets.
The paper used is Hahnemuhle Photo Rag 308 g/m2, 100% rag paper.
The photographs are available as is, or already mounted and matted, suitable for immediate framing or display.
They are very securely packed for shipping, and we guarantee that they will arrive in perfect condition.
The matted prints have outside dimensions of 18” x 24” (45.72cm x 60.96cm).
The mats and backing boards are 100% cotton rag, buffered, 4-ply. (3/16” thick or 4.75mm))
Each photograph is signed and numbered by Damian Hevia,
All three prints are printed on 13” x 19” (330mm x 483mm) sheets, also known as Super A3/B sheets.
The paper used is Hahnemuhle Photo Rag 308 g/m2, 100% rag paper.
The photographs are available as is, or already mounted and matted, suitable for immediate framing or display.
They are very securely packed for shipping, and we guarantee that they will arrive in perfect condition.
The matted prints have outside dimensions of 18” x 24” (45.72cm x 60.96cm).
The mats and backing boards are 100% cotton rag, buffered, 4-ply. (3/16” thick or 4.75mm))
Set of three limited edition photographs.
Mounted and matted.
Inclusive of worldwide shipping.
Mounted and matted.
Inclusive of worldwide shipping.
| " L'Heure " Edition of 250. Size 10 5/8” x 12 5/16” (10.62cm x 31.27cm) Printed on Hahnemuhle Photo Rag 308 g/m2, 100% rag paper. |
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To convert these amounts into USD dollars, please click here (please temporarily disable your pop-up blocker to see the new window).
Damian Hevia writes:
This set of photographs was shot in the summer of 2004 in Houston, Texas. It
had been 20 years since I last had the opportunity to study and play in the
studio purely for my own satisfaction. Absinthe had grown from a curiosity to a
truly enjoyable addition to my palette. I went through the misinformation cloud
as most of us have. I spent a lot of money in those early days in the quest to
find out what absinthe is about. In hindsight, those experiences prepared me
for what was to come.
I met Jay Hendrickson, an absinthe connoisseur by way of an acquaintance. A
chance mention of absinthe and she put him in touch with me. He was frank
(brutally so) about the absinthes I had in my fledgling collection. We decided
to meet. I wanted to experience for myself what this difference was between
what I had come to know as absinthe and what he was describing. When we
met, he brought out bottle after bottle of all these different absinthes. He
explained in great detail what we were tasting. He was right! What an eye
opening experience and a very generous gesture on his part to take the time
to introduce me to the real thing. From then it was simply a matter of learning,
tasting and enjoying.
Imagery began popping up in my head. How could I create some images that
would convey a truer vision of the experience of drinking absinthe?
This set of photographs was shot in the summer of 2004 in Houston, Texas. It
had been 20 years since I last had the opportunity to study and play in the
studio purely for my own satisfaction. Absinthe had grown from a curiosity to a
truly enjoyable addition to my palette. I went through the misinformation cloud
as most of us have. I spent a lot of money in those early days in the quest to
find out what absinthe is about. In hindsight, those experiences prepared me
for what was to come.
I met Jay Hendrickson, an absinthe connoisseur by way of an acquaintance. A
chance mention of absinthe and she put him in touch with me. He was frank
(brutally so) about the absinthes I had in my fledgling collection. We decided
to meet. I wanted to experience for myself what this difference was between
what I had come to know as absinthe and what he was describing. When we
met, he brought out bottle after bottle of all these different absinthes. He
explained in great detail what we were tasting. He was right! What an eye
opening experience and a very generous gesture on his part to take the time
to introduce me to the real thing. From then it was simply a matter of learning,
tasting and enjoying.
Imagery began popping up in my head. How could I create some images that
would convey a truer vision of the experience of drinking absinthe?
Jay lent me some pieces from his extensive absinthiana collection and I basically locked myself up in the studio and went to work.
I wanted to convey the feeling of what it must have been like to experience the green hour in the early 1900s in Europe. A reflective
respite from the harries of the day. With "L'Heure" I took a voyeuristic approach to the scene. Peeking through a window at what you
might see on a table inside an absinthe bar. The water is dripping into a glass and you see the green drink waiting to be tasted. The
image is divided into segments and the quadrants offer a series of compositions that can be appreciated individually but also relate to
the other panes in order to complete the picture.
I wanted to convey the feeling of what it must have been like to experience the green hour in the early 1900s in Europe. A reflective
respite from the harries of the day. With "L'Heure" I took a voyeuristic approach to the scene. Peeking through a window at what you
might see on a table inside an absinthe bar. The water is dripping into a glass and you see the green drink waiting to be tasted. The
image is divided into segments and the quadrants offer a series of compositions that can be appreciated individually but also relate to
the other panes in order to complete the picture.
“Clarity” was inspired by the many writings musing about the
effects of absinthe. The legendary clarity of vision to be
achieved as you spend time with the drink. I wanted to
illustrate a carnival ride view of the experience.
“Louche 1” was simply a bunch of fun to create. One of the
most mesmerizing parts of the absinthe ritual is the louche.
That period in the preparation when the chilled water is added
to absinthe drip by drip and then, as the water mixes with the
spirit, it begins to change. The oils from the herbs in the
absinthe react to make the opalescent drink. I felt the swirls I
had watched so closely so many times before would be
difficult to appreciate in a photograph. So I came up with the
idea to "flatten" the event in order to offer a more two
dimensional view. A kind of virtual slice of what happens in the
glass. As the name, “Louche 1”, implies, this is part of a
series. There were so many interesting things that happened
throughout the process. This is just the first of more to come.
effects of absinthe. The legendary clarity of vision to be
achieved as you spend time with the drink. I wanted to
illustrate a carnival ride view of the experience.
“Louche 1” was simply a bunch of fun to create. One of the
most mesmerizing parts of the absinthe ritual is the louche.
That period in the preparation when the chilled water is added
to absinthe drip by drip and then, as the water mixes with the
spirit, it begins to change. The oils from the herbs in the
absinthe react to make the opalescent drink. I felt the swirls I
had watched so closely so many times before would be
difficult to appreciate in a photograph. So I came up with the
idea to "flatten" the event in order to offer a more two
dimensional view. A kind of virtual slice of what happens in the
glass. As the name, “Louche 1”, implies, this is part of a
series. There were so many interesting things that happened
throughout the process. This is just the first of more to come.
We're privileged to offer this unique set of three limited edition art prints by the renowned Houston based master photographer
Damian Hevia. The three photographs are offered as a set (one of the three is also available individually), superbly mounted and
matted, ready for framing or for immediate display. The small images here don't begin to convey the power, richness and detail
of the actual prints, which truly have to be seen to be believed.
Damian Hevia is an acclaimed musician, and a photographer who's worked with Billy Joel, Korn, Stave Vai, Joe Satriani and Bill
Bruford. More recently he's specialised in photographing not just the artists, but the accoutrements of rock n' roll - particularly
guitars and drum kits - treating them as art-objects and bringing a level of creativity to the process that has made his work
sought after all over the world.
Damian Hevia. The three photographs are offered as a set (one of the three is also available individually), superbly mounted and
matted, ready for framing or for immediate display. The small images here don't begin to convey the power, richness and detail
of the actual prints, which truly have to be seen to be believed.
Damian Hevia is an acclaimed musician, and a photographer who's worked with Billy Joel, Korn, Stave Vai, Joe Satriani and Bill
Bruford. More recently he's specialised in photographing not just the artists, but the accoutrements of rock n' roll - particularly
guitars and drum kits - treating them as art-objects and bringing a level of creativity to the process that has made his work
sought after all over the world.
| " Clarity " Edition of 250. Size 14 1/8” x 9 7/16” (35.88cm x 24cm) Printed on Hahnemuhle Photo Rag 308 g/m2, 100% rag paper. |
| " Louche 1 " Edition of 250. Size 9 3/8 x 15 1/8” (23.81cm x 38.42cm) Printed on Hahnemuhle Photo Rag 308 g/m2, 100% rag paper. This print also available individually - see below. |
Set of three limited edition photographs.
Unmounted, photographs only.
Inclusive of worldwide shipping.
Unmounted, photographs only.
Inclusive of worldwide shipping.
Set of three signed limited edition photographs.
Each print mounted and matted on 4 ply archival card, suitable
for immediate framing or direct display. Shipped flat. £220
Each print mounted and matted on 4 ply archival card, suitable
for immediate framing or direct display. Shipped flat. £220
Set of three signed limited edition photographs.
Unmounted.
Shipped in a roll tube. £170
Unmounted.
Shipped in a roll tube. £170
Matted photo with absinthe bottle for scale.
All 3 matted photos.
Finest & Rarest, dealing in rare and ancient
cognac, Chartreuse, whisky and other spirits.
cognac, Chartreuse, whisky and other spirits.
Le site frère de ce site-ci, en francais,
Le Musée Virtuel de l'Absinthe.
Le Musée Virtuel de l'Absinthe.
Absinthe Originals for
authentic Belle Epoque
era absinthe antiques.
authentic Belle Epoque
era absinthe antiques.
Absinthe Classics,
for the finest modern
absinthes with
worldwide delivery.
for the finest modern
absinthes with
worldwide delivery.
The Absinthe Spoon The premier source
for fine replica spoons, glasses and fountains.
for fine replica spoons, glasses and fountains.
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Absinthe Posters, for fine-art prints
of the greatest absinthe images.
of the greatest absinthe images.
One photograph - "Louche 1" - sold individually
Signed and numbered by Damian Hevia,
Printed on a 13” x 19” (330mm x 483mm) sheet, also known as Super A3/B.
The paper used is Hahnemuhle Photo Rag 308 g/m2, 100% rag paper.
This photograph is available as is, or already mounted and matted, suitable for immediate framing or display.
The matted print has an outside dimensions of 18” x 24” (45.72cm x 60.96cm).
The mats and backing board are 100% cotton rag, buffered, 4-ply. (3/16” thick or 4.75mm))
Signed and numbered by Damian Hevia,
Printed on a 13” x 19” (330mm x 483mm) sheet, also known as Super A3/B.
The paper used is Hahnemuhle Photo Rag 308 g/m2, 100% rag paper.
This photograph is available as is, or already mounted and matted, suitable for immediate framing or display.
The matted print has an outside dimensions of 18” x 24” (45.72cm x 60.96cm).
The mats and backing board are 100% cotton rag, buffered, 4-ply. (3/16” thick or 4.75mm))
Limited ed. signed photograph - "Louche I".
Mounted and matted.
Inclusive of worldwide shipping.
Mounted and matted.
Inclusive of worldwide shipping.
To convert these amounts into USD dollars, please click here (please temporarily disable your pop-up blocker to see the new window).
Limited ed. signed photograph - "Louche I".
Unmounted, photograph only.
Inclusive of worldwide shipping.
Unmounted, photograph only.
Inclusive of worldwide shipping.
A limited edition signed photograph - "Louche I".
Mounted and matted on 4 ply archival card, suitable for
immediate framing or direct display. Shipped flat. £100
Mounted and matted on 4 ply archival card, suitable for
immediate framing or direct display. Shipped flat. £100
A limited edition signed photograph - "Louche I".
Unmounted.
Shipped in a roll tube. £75
Unmounted.
Shipped in a roll tube. £75
