The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop
The Tortoise Arrived Alone One Day by Danny Veys - Silver gelatin prints - Tipi bookshop

The Tortoise Arrived Alone One Day by Danny Veys & Bruno Vandermeulen - Silver gelatin prints

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This special edition comes with two different silver gelatin prints to choose from.

Both prints have a certificate of authenticity and are limited to 11 copies.

Book in Turkish and English
Can a landscape bear witness to a distant past? How does this relate to today?
One of the main themes in contemporary photography is the “man-altered landscape,” where the transformation of the landscape through urban expansion is documented. Thus, working with the concept of “history-altered landscapes” allows Vandermeulen and Veys to study the historical layers of a landscape and the influence of temporal succession on spatial dispersion. 

Originally starting at Sagalassos, and later broadening their focus on the Pisidian landscape, the artists’ photographs trace of a long past, at the edge of presence and absence.

As a reference to the past and as an homage to early photographers, artists Vandermeulen and Veys create their work with the help of a large format analog field camera on black and white film. Techniques include vintage processes such as albumen, salt prints, and classic gelatin silver fiber-based prints but also silkscreen prints, UV prints, and photo polymer prints.

In addition to Poblome's writings, the book brings together Judith Desmyttere's poem, which also gives the book its name, an article by Meşher Bahattin Öztuncay's director on printing techniques, and Jan Baetens' text titled "Photography as Rhetoric " in English and Turkish. 

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