30 September 2012
28 September 2012
Did I mention I have a phew photos (sic) on display here? Not sure they are worth a trip into town but, if you are in Soho, do pop in for a look. They were all taken at We Are Cuts during the opening nights of the various exhibitions they have had previously. Any feedback (apart from about the confusing labelling - I know, I know!), leave a comment or send an email.
Happy Friday to you both
Happy Friday to you both
23 September 2012
Why this? Well, the lines. The clean colours. The perfect cut off flower and vase. The fact that it was a Happy Accident. The architectural style. The blues. The iconic building as you and I have never seen her before. The madness of it. The plant vs. hardness. The pink accent. The fact that it was from a job that I started on Friday that I was pleased to get and am a long way off finishing and need a break from. The recency effect. The fact that I've not posted anything like it before. The different shades of white / grey. The shape of the vase. The darkness of the vase. The unexpected. The pleasing shape. The fact that it holds together, a beautiful piece.
22 September 2012
Why these? Bottom Picture: The fact that the hotel, who commissioned the pictures, won't in all likelihood use this image and I don't want it wasted on my hard drives somewhere. The subtle tonal shift (or is it my eyes?) on the wall. The simplicity. The life-affirming nature of it. The effort put into something so fleeting as a table arrangement. The burnt out whites. The green, pink and off white. The shape of the vase. The glasses - so clear, clean, pure. The napkins: though origami'ed, still worth looking at. Top picture: The classic look of it. The tonal range (i.e. a nice mix of colours). The fact that it is Generic Hotel and yet beautiful. I love gerberas in all their beautiful plasticity and in all their bred-crazy colours. The clean glass that could not be more Platonically Ideal in its representation of wine-glassishness (woah, pseuds corner, you're welcome!). The light. The perfect depth of field. The pink. The green. The ochres. The warm orangey bulb. The bizarre napkinery. The effort, as noted in relation to the first picture, that has gone into creating something so beautiful for something so fleeting. The artistry. The balance of shapes. The lack of life pictured but the presence of life behind the picture, the meaning. And there, I shall stop except to say that the top picture puts me in mind of a short story by Raymond Carver. Well, not A short story, His short stories. I don't know why - I think because there isn't an element out of place - there's not much there, but what there is adds up to a whole lot more than the sum of the parts and, despite the efforts of the hotelier and all those working there, there is an unmistakable whiff of melancholia about the arrangement.
19 September 2012
Well, it was good while it lasted but sayonara BB, your time has.been and gone. It's the ads, you see. I don't want to look at car videos while I wait for the comments (always the best bit) to load. When you were good you were magnificent. Now, sad and commercial. Thanks for the fun you once gave though.
18 September 2012
You can see some of his work here.
17 September 2012
I read a lot of photography magazines. And I mean, a Lot. But, apart from The Photographer's i on the iPad, mostly the quality of the actual pictures therein fails to excite. However, one magazine that I would wholeheartedly recommend for photography, despite that not being its raisin d'être, is Intelligent Life, produced by The Economist. Not only is the writing consistently excellent, but the photography is streets ahead of anything else and is given space and due consideration. The current edition, for example, has a brilliant spread of pictures focussing on religion around the world, with pictures that genuinely bring one up short. The photographer, Fernando Moleres, is soomeone I'd not hitherto heard of but is clearly a name worth remembering.
16 September 2012
Why this one? The joy in their faces; they feel like they are doing something forbidden. The dirty mark on Sam's forehead. Ellie's smile. The reflection of the trees. The guiltless feeling of childhood. The open top to the car. The reminder to play and have fun. The boy driving, the girl in the passenger seat (no, I didn't arrange that). Their size relative to the car surrounding them.