Pathway Above The Bay

We kept walking. The path hugged the cliffside below the acropolis, opening out to a view across the Aegean towards the mountains. Down in the natural harbour, a handful of boats sat still in the warm early light.

I stopped. I had to.

BACKSTORY

Pathway Above The Bay

One of the first things you learn in commercial photography is to always be prepared for the unexpected. Backup cameras, spare lenses, extra cables — when you’re on location with a client, you plan for everything.

The one thing you can’t have a backup for is your own health.

It was October, and I found myself back in Rhodes for the tenth or eleventh time — having been there just eight weeks earlier. I love this island deeply, but I’ll be honest, I was starting to wonder if I’d got too familiar with it photographically and needed some fresh inspiration elsewhere.

Still, there were a few spots I felt had more to give me. So I emailed Jannis — who I’ve been hiring cars from for years — and arranged three days on the road.

Then I got ill.

Nothing dramatic, just the kind of thing that makes getting out of a warm bed before dawn feel genuinely heroic. I drugged myself up and carried on, partly out of stubbornness, partly because the hire car was already booked. My eldest daughter Gracie came with me each morning, helped carry kit, and didn’t complain once.

Lindos was my best morning. Though even then I wasn’t thinking clearly — I made a couple of stupid mistakes I only noticed later in post-processing.

We started at the Chapel of Saint George Pachymachiotis, which I’d photographed two or three times before but wanted to try from a slightly different angle. We weren’t alone — a Greek cat had claimed the chapel roof and was watching the dawn unfold with considerably more composure than I was managing.

After reassembling my tripod — which had decided to fall apart at precisely the wrong moment, proving that even backup plans have gaps — we pushed on further out of the village.

And that’s when we found a second chapel I genuinely don’t remember ever seeing. Small, quiet, looking down towards the beach below. It perked me up better than any painkiller.

I stopped. I had to.

A private house sat along the path with a beautiful old doorway — exactly the kind of detail that anchors a composition and gives the eye somewhere to rest before it wanders out across the bay. I set up, waited for the light, and took a few frames.

This is one of them.

30-day returns. Free replacement if damaged. Not sure it will work on your wall? — See it on your wall first

PRODUCT DETAILS

FINE ART PHOTOGRAPHY PRINT

Printed on premium cotton canvas using archival pigment inks — produced to museum-grade standards and rated to remain lightfast for over 100 years.

Not a cheap rolled print. A substantial, hand-stretched canvas mounted on a 1.5-inch solid Latvian pine frame, warp-resistant and delivered ready to hang.

This is artist-grade cotton canvas — the same substrate used by professional fine art printmakers. Not the PVC-backed, machine-rolled print you may have seen elsewhere.

Photography by Simon Plant. Published by National Geographic and TIME Magazine. 37 years photographing the Mediterranean.

Gallery canvas, ready to hang.

What you get:

Premium cotton canvas with soft, smooth texture. Eco-friendly inks that resist fading. Colors stay true for years.

Mounted on 1.5-inch (3.8cm) Latvian pine frame. Sturdy and warp-resistant.

Choose black edge or natural cotton wrap.

Ready to hang. Includes hanging kit.

UK delivery included. International shipping calculated at checkout. Free worldwide shipping available to Collective members join free here

SIZE | CANVAS GUIDE

This image is offered as a single panoramic size: 90 x 50 cm (36 x 20 inches / 3ft x 1ft 8in). The wide format reflects the natural sweep of the bay. Ideal for a wide wall — above a sofa, bed headboard, or hallway.

See it on your wall first Here

36 x 20 inch

Gallery Canvas Deep Frame

Canvas Black Edge

Natural Canvas Edge

Product Description

Gallery canvas. Pure cotton with soft texture.

Eco-friendly inks that won’t fade. Colors stay vibrant for years.

Mounted on 1.5-inch Latvian pine frame. Solid warp-resistant construction.

Choose black edge or natural canvas wrap.

Delivered ready to hang.

The Aeonian Quality Every piece is produced to museum-grade standards, utilising archival pigment inks and sustainable, FSC-certified materials. This artwork is designed to remain lightfast and structurally vibrant for over 100 years.

Discover our Craftsmanship & Sustainability →

DELIVERY TIMES

Delivery Times

“Free UK Shipping. International shipping calculated at checkout — free worldwide for Collective members.”

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The following guide includes production time.

UK 3-8 DayS

EUROPE 3-8 Days

USA | Canada 3-8 Days

ROW 5-10 Days

Fully tracked and insured.

What’s The Difference Between A Canvas And A Limited Edition Print?

The canvas prints are open edition — produced on artist-grade cotton canvas with archival pigment inks. There is no limit on how many can be made. The limited edition prints are on Hahnemühle Photo Rag paper — a heavy cotton paper used in museum collections — with a strict edition cap. When the edition sells out, the image is permanently retired. Both use the same photographs. The difference is the material, the edition limit, and what that means for long-term ownership.

See full details on our Canvas and Limited Edition pages.

Large Panoramic Canvas

Clifftop Path Lindos Bay Rhodes Greece Gallery Canvas Print | Aeonian Art