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Showing posts from November, 2014




Five Day B&W Challenge: Day 1

Private View: Cecilia Brunson Projects, Bermondsey

Self-Portrait: Obsession



This afternoon - Shrewsbury

This morning - the view towards Welshpool


Oh to have half the wit and experience this guy's got

A very interesting interview with an ex photographer's rep, Julian Richards, at Photo District News (PDN) - money quote:

"Digital changed the landscape...Suddenly many jobs can be done by many people, photographers become more interchangeable, the question of "Why him over her?" shifts to ancillary aspects of the process; personality, speed, stamina, flexibility. And there’s profit in mutability; being able to gather several photographers under a single umbrella with a shared mandate makes you more flexible and attractive. But the corrosive byproduct is that the unique sniper's eye of a Greg Miller, Chris Buck, James Smolka, Sian Kennedy becomes not only less relevant, but actually an obstacle. In shifting ground to garner a larger share of the mainstream, you risk losing identity, licking the hand that feeds you."

Elena, Redux

Wildflowers, Richmond, Redux


Albrecht Durer - Self Portrait 1493

Othello - a few more pictures

Multiple Exposure

So, a little experiment - below are various versions of the same photo with different "enhancements" applied to each. The picture was taken yesterday afternoon a little way from home. I'm going to leave them here on Mrs Lemon's for a while and see which one stands up the longest - that is to say, over time, which one bears repeated viewing. It's an interesting and oft-demonstrated phenomena that, over time, some pictures improve and some deteriorate in the eye of the beholder and I'm curious to see which of these survives and which could usefully be despatched for recycling. At the moment they are coincidentally in my order of preference, with colour winning out and then a harder black and white version. However, I'm wondering what that order will look like in six weeks, six months or a year. One small thing - since uploading them I'm thinking the differences between 3 and 4 may be too subtle but again, I'll see if I still think that in a little w…

Paolo Nutini - Iron Sky [Short Film]

King Lear Poster

The Malachites production of Othello

Director of The Malachites Theatre Company Ben Blythe



[Photographer, b. 1951, Lexington, Virginia, lives in Lexington.]When the good pictures come, we hope they tell truths, but truths “told slant,” just as Emily Dickinson commanded.

Guilsfield Show redux

A few faces of Lewis Barfoot, Actor, Singer, Performer

Besides everything else I got from this job, I now know what a "looper" is. Which makes me happy.

Blind Summit

So, writing my morning pages today, as per Julia Cameron in The Artist's Way, I got to thinking about some photographs I took earlier this week of the beautiful and talented Lewis Barfoot (above) and of how a lot of the shots show her with her eyes closed. Why? Well, in part because when she reached the emotional peaks of her songs she closed her eyes and I took the peak as a cue to take a photo - I wanted to show that she puts her all into her music. But why do humans do that - why do we close our eyes when we hug someone for example? To amplify the moment - we don't want distractions, we want to really feel that emotion, we want to maximise the potential of the emotion, the feeling of joy or connection. So why close them, our eyes, when we are sad or melancholy, as Lewis clearly was at times during her show? Because it isn't entirely voluntary, it isn't always about consciously wanting something - another aspect of the act of closing them reflects the fact that we a…

Still Looking

Morning Pages


Heading Back

A day spent recovering from a late night, observing two minutes silence, visiting the sick and aged, and driving four or five hours around the country.