I have a friend who is a ‘proper’ photographer. In stark contrast to my haphazard, eclectic and ever-changing output, he thinks about what he’s doing and spends years on projects; researching, planning and shooting his work before finally working out the best way to share it. The results reflect the effort and commitment invested in them. Continue reading
On the middle Sunday of February, I woke early and eagerly looked out through the curtains, hoping to see clear morning sunshine, perhaps a delicate, ethereal dew and chirping blackbirds singing from the treetops. Continue reading
A couple of Sundays ago, I was lucky enough to be invited by Iain to take pictures of our mutual friend Mikey‘s classic Citroën DS. Mikey takes his beautiful car out once a month or so through the winter and the plan was for us to shoot it in darkness, lit by LED streetlights in a similar set up to that which I photographed Iain’s erstwhile Sköda a couple of weeks previously. Continue reading
As I described in my first 52 Rolls post of 2017, I plan to slow things down a little this year. After last year’s excesses, I hope that by leaving time between the taking of the picture and choosing what to show, I’ll not be tempted into posting the pictures that might have been difficult or exciting to make, but only those that deserve to make the cut on their merits and without that influence.
You might have spotted if you’re a regular follower that I had a false start with the second week on the FP4+Party. I shot a mystery roll from the fridge, thinking it was FP4+, only to find that it was HP5+ when I got to the end of the roll. That meant quickly snapping 36 exposures as I walked along Holkham beach last weekend.
On Friday night I went along to the opening of the Inside the Outside group’s exhibition at the Photo Parlour in Nottingham. One of their founder members is Al Brydon, a photographer that I’d met a few years ago, who produces tremendous landscape work from the Peak District.
As part of the ITO exhibition, he was showing the results of a really fascinating project. A while back, he discovered a drawer full of films that he’d shot around 10-15 years ago and rather than processing them, he chose to expose (most of) them again. This ‘collaboration with [his] former self’ became his ‘Based on a False Story‘ collection. Continue reading
It’s pissing down. Continue reading