Click on any image to see a larger version.
If you would like a print, please make a note of the unique identifying number, then click here.
If you would like a print, please make a note of the unique identifying number, then click here.
The Hundreds - A Flawed Overview
1993-present
With such a large collection of images and no one unifying theme, we really wanted to do some kind of decade-spanning overview exhibition. The problem was creating it - a selection of favourites was the obvious choice, but favourite choices of curators, viewers and Paul himself have varied wildly, so setting a definitive selection in stone as 'the best' while leaving out so many others seemed like the wrong way to go. Choosing a set of single images to illustrate emerging themes was another option, but when such themes are explored in full in other exhibitions on the site, this didn't seem right either.
Then we came up with a more arbitrary system that would cut straight to the guts of the collection - a way to use the numbering system to produce an unique survey right across the years. By simply taking every hundredth image and asking Paul to share some thoughts on each, we hope we have created a genuine, truthful and thorough introductory selection. Paul says 'I loved the idea of having no control over the selection to give an honest overview. Some of the images aren't ones I would have chosen, but for better or worse, here we go...'.
1993-present
With such a large collection of images and no one unifying theme, we really wanted to do some kind of decade-spanning overview exhibition. The problem was creating it - a selection of favourites was the obvious choice, but favourite choices of curators, viewers and Paul himself have varied wildly, so setting a definitive selection in stone as 'the best' while leaving out so many others seemed like the wrong way to go. Choosing a set of single images to illustrate emerging themes was another option, but when such themes are explored in full in other exhibitions on the site, this didn't seem right either.
Then we came up with a more arbitrary system that would cut straight to the guts of the collection - a way to use the numbering system to produce an unique survey right across the years. By simply taking every hundredth image and asking Paul to share some thoughts on each, we hope we have created a genuine, truthful and thorough introductory selection. Paul says 'I loved the idea of having no control over the selection to give an honest overview. Some of the images aren't ones I would have chosen, but for better or worse, here we go...'.
100
Leipzig, Germany
April 1995
This window was in the building where I was staying in East Germany - lots of dark, empty rooms and bare, cold corridors. I like the quietness of this image, it seems somehow peaceful and dangerous at the same time.
Back then I had no notion of the collection, I was just taking photographs of things that caught my eye as I always had. It was around a year after this I started compiling images into a book, along with applying the numbering system.
Leipzig, Germany
April 1995
This window was in the building where I was staying in East Germany - lots of dark, empty rooms and bare, cold corridors. I like the quietness of this image, it seems somehow peaceful and dangerous at the same time.
Back then I had no notion of the collection, I was just taking photographs of things that caught my eye as I always had. It was around a year after this I started compiling images into a book, along with applying the numbering system.
200
New York, USA
November 1995
Looking up - this is something I find myself doing a lot, and New York is a perfect place for it.
There are quite a few pictures throughout the collection with the sky silhouetted behind insides of courtyards, buildings, chimneys and all kinds of things. I always like trying the idea of putting a frame around the sky with interesting shapes that may not be obvious at first.
New York, USA
November 1995
Looking up - this is something I find myself doing a lot, and New York is a perfect place for it.
There are quite a few pictures throughout the collection with the sky silhouetted behind insides of courtyards, buildings, chimneys and all kinds of things. I always like trying the idea of putting a frame around the sky with interesting shapes that may not be obvious at first.
300
Bristol, England
February 1996
I like to focus on these small details that you can find on buildings. Putting a frame around them strips the lines, angles and boxes of their real world context and makes them into a composition. Some nice textures on this one, and some neat tiling on the left. The slope of the street makes the whole thing more interesting and abstracted, with the yellow lines there to remind us what we're looking at.
This is a pretty typical image from this period - living in Bath at the time, Bristol was the nearest big city, and expeditions there with my camera were always very fulfilling - I took hundreds of pictures there.
Bristol, England
February 1996
I like to focus on these small details that you can find on buildings. Putting a frame around them strips the lines, angles and boxes of their real world context and makes them into a composition. Some nice textures on this one, and some neat tiling on the left. The slope of the street makes the whole thing more interesting and abstracted, with the yellow lines there to remind us what we're looking at.
This is a pretty typical image from this period - living in Bath at the time, Bristol was the nearest big city, and expeditions there with my camera were always very fulfilling - I took hundreds of pictures there.
400
Bristol, England
October 1996
Bristol again, and one of another series of recurring images for me - the grid of windows on a high rise. Looking at half closed blinds, lights on or off, different coloured rooms, all laid out in a perfect grid, and all fascinatingly different.
Most windows here bear an individual human touch. 70 little squares, many with their own unique collection of vertical stripes all to itself. Click on the image and take a closer look!
Bristol, England
October 1996
Bristol again, and one of another series of recurring images for me - the grid of windows on a high rise. Looking at half closed blinds, lights on or off, different coloured rooms, all laid out in a perfect grid, and all fascinatingly different.
Most windows here bear an individual human touch. 70 little squares, many with their own unique collection of vertical stripes all to itself. Click on the image and take a closer look!
500
Bristol, England
May 1997
A great day spent in and around the wonderfully neglected buildings of Bristol's own Docklands. Moving through the various floors, discovering ancient control panels, examining complex machinery and in particular, tracing the routes of the ducts from the top to the bottom of the granaries - all in complete silence.
This isn't my favourite of the image from the day, but it does give an idea of those incredible ducts that snake up and around inside the massive warehouses and granaries that loom above the landscape on all sides here.
Bristol, England
May 1997
A great day spent in and around the wonderfully neglected buildings of Bristol's own Docklands. Moving through the various floors, discovering ancient control panels, examining complex machinery and in particular, tracing the routes of the ducts from the top to the bottom of the granaries - all in complete silence.
This isn't my favourite of the image from the day, but it does give an idea of those incredible ducts that snake up and around inside the massive warehouses and granaries that loom above the landscape on all sides here.
600
London, England
February 1999
Sometimes a little scene or situation of objects will catch my eye. This layout of kit seemed just perfect, juxtaposed with a couple of signs on the wall. Nobody around, but the objects tell you everything you need to know.
There are themes that can be picked up through the collection, but I'm glad odd little images like this one exist too, and it's good to see it as part of this somewhat randomised exhibition.
London, England
February 1999
Sometimes a little scene or situation of objects will catch my eye. This layout of kit seemed just perfect, juxtaposed with a couple of signs on the wall. Nobody around, but the objects tell you everything you need to know.
There are themes that can be picked up through the collection, but I'm glad odd little images like this one exist too, and it's good to see it as part of this somewhat randomised exhibition.
700
Pacific Grove, California, USA
June 1999
Corners of streets feature in a lot of my images, I like the dynamic diagonal meeting of walls and roads. I have also shot overhead cables a lot, particularly with all the mysterious extra joints and links on a post like this.
A lack of people in the shot - I'll usually wait until everyone is gone, I'm looking at the angles and how all the elements work together and for me, an individual can bring too much else into the image. You will see people in my images now and again, but they will hopefully be there for a reason, and never posed.
Pacific Grove, California, USA
June 1999
Corners of streets feature in a lot of my images, I like the dynamic diagonal meeting of walls and roads. I have also shot overhead cables a lot, particularly with all the mysterious extra joints and links on a post like this.
A lack of people in the shot - I'll usually wait until everyone is gone, I'm looking at the angles and how all the elements work together and for me, an individual can bring too much else into the image. You will see people in my images now and again, but they will hopefully be there for a reason, and never posed.
800
Taormina, Sicily
September 1999
Doors and windows in various combinations feature heavily in the collection, particularly in the first few years. I enjoy the infinite range of compositions I can create from them, with so many designs and colours, plus all the different ways they can be arranged, but all with a function.
This one, bathed in the delicious Italian light, is a bit strange, a decoratively framed window, now covered with both a sheet of metal and a sturdy cage.
Taormina, Sicily
September 1999
Doors and windows in various combinations feature heavily in the collection, particularly in the first few years. I enjoy the infinite range of compositions I can create from them, with so many designs and colours, plus all the different ways they can be arranged, but all with a function.
This one, bathed in the delicious Italian light, is a bit strange, a decoratively framed window, now covered with both a sheet of metal and a sturdy cage.
900
Lanzarote
July 2000
Beuatiful salt pans laid out to collect sea water, which is left to evaporate, leaving sediment behind. The varying levels of dryness create a range of muted colours, all arrayed in a square grid - perfect for pulling out abstract compositons.
Not the only striking thing on the island of Lanzarote - there are also vast fields of lava, which feature elsewhere in the collection.
Lanzarote
July 2000
Beuatiful salt pans laid out to collect sea water, which is left to evaporate, leaving sediment behind. The varying levels of dryness create a range of muted colours, all arrayed in a square grid - perfect for pulling out abstract compositons.
Not the only striking thing on the island of Lanzarote - there are also vast fields of lava, which feature elsewhere in the collection.
1000
Paris, France
March 2001
The numbering of the images always lags slightly behind shooting them, but as I was approaching the 1000 mark, I think I was aware it would probably hit somewhere during this Paris visit. When I indexed the images later, I was curious to see which image would be the landmark 1000.
All very arbitrary of course (like this exhibition), but I guess this is as an appropriate a 1000 as any - simply a black window in a white frame on a white wall. It's the brutal bars with a nice little human touch that brings the interest - click on the image to see it!
Paris, France
March 2001
The numbering of the images always lags slightly behind shooting them, but as I was approaching the 1000 mark, I think I was aware it would probably hit somewhere during this Paris visit. When I indexed the images later, I was curious to see which image would be the landmark 1000.
All very arbitrary of course (like this exhibition), but I guess this is as an appropriate a 1000 as any - simply a black window in a white frame on a white wall. It's the brutal bars with a nice little human touch that brings the interest - click on the image to see it!
Click on any image to see a larger version.
If you would like a print, please make a note of the unique identifying number, then click here.
If you would like a print, please make a note of the unique identifying number, then click here.
1100
Havana, Cuba
July 2001
Part a very productive shoot to Cuba, but this is one of the least interesting images! Looking back at this image now, I'm willing myself to pan down a little and take a look at the shop front.
It is interesting to see how the window chops into the mural, which is essentially just an advertisement for the bakery. I found some great stuff in Cuba - an incredible place to photograph.
Havana, Cuba
July 2001
Part a very productive shoot to Cuba, but this is one of the least interesting images! Looking back at this image now, I'm willing myself to pan down a little and take a look at the shop front.
It is interesting to see how the window chops into the mural, which is essentially just an advertisement for the bakery. I found some great stuff in Cuba - an incredible place to photograph.
1200
Death Valley, California, USA
April 2002
A desolate place ripe for creating striking compositions like this one. Death Valley is packed with wonderful shapes and colours, and a nice bit of foreground interest here works with some great shapes and contrast to create a strikingly peaceful and comfortable image.
National Parks in the USA are always a good mix of incredible landscapes and the overlaying of signage, paths and roads to package everything neatly up for the visitors. This interesting contradiction is something I have examined in some other pictures.
Death Valley, California, USA
April 2002
A desolate place ripe for creating striking compositions like this one. Death Valley is packed with wonderful shapes and colours, and a nice bit of foreground interest here works with some great shapes and contrast to create a strikingly peaceful and comfortable image.
National Parks in the USA are always a good mix of incredible landscapes and the overlaying of signage, paths and roads to package everything neatly up for the visitors. This interesting contradiction is something I have examined in some other pictures.
1300
Barcelona, Spain
February 2003
Wandering the streets of European cities is one of my favourite ways of finding pictures. The limited time available on a city visit intensifies my looking and when I get in the right mood, I can take a whole series of interesting images.
I'm usually quite careful about getting things dead centre when I want them that way, and can spend a lot of time repositioning myself and lining up the elements in the frame. Interesting then, that this one is a bit off centre, adding a little drama to the near symettrical image.
Barcelona, Spain
February 2003
Wandering the streets of European cities is one of my favourite ways of finding pictures. The limited time available on a city visit intensifies my looking and when I get in the right mood, I can take a whole series of interesting images.
I'm usually quite careful about getting things dead centre when I want them that way, and can spend a lot of time repositioning myself and lining up the elements in the frame. Interesting then, that this one is a bit off centre, adding a little drama to the near symettrical image.
1400
Amber, India
July 2003
Faced with the exquisite grandeur of some of the places and palaces I visited in India, it could seem pointless taking pictures at all. The extreme heat and the overwhelming scale and detail of the architecture was breathtaking.
It was all but impossible to get shots here without people in, so the challenge was waiting for the moment when the figures were balanced and comfortable, making them a useful and considered addition in this otherwise very formal image.
Amber, India
July 2003
Faced with the exquisite grandeur of some of the places and palaces I visited in India, it could seem pointless taking pictures at all. The extreme heat and the overwhelming scale and detail of the architecture was breathtaking.
It was all but impossible to get shots here without people in, so the challenge was waiting for the moment when the figures were balanced and comfortable, making them a useful and considered addition in this otherwise very formal image.
1500
London, England
December 2003
Another unusual scene that caught my eye, somehow summimg up the whole quiet and austere aspect of big national museums.
On another level, I like the shadow of the precious object, and the way the words on the floor are the only clue to what we are looking at.
London, England
December 2003
Another unusual scene that caught my eye, somehow summimg up the whole quiet and austere aspect of big national museums.
On another level, I like the shadow of the precious object, and the way the words on the floor are the only clue to what we are looking at.
1600
Manchester, England
April 2004
A worn out shop frontage which appears to be quite plain to start with, but click on the image and look closer for little details to enjoy - the decorative gate and red box, the way the black paint points up every little texture and shadow, the strip across the top with just the partial rust and black coverings left, the layout of the panels on the left with their columns topped off by unpainted flourishes.
Often it's not until after I get the photos back that I notice the wealth of details like this - for me, this is one of the wonders of photography, allowing you to take a good long look at something years after you only spent a short amount of time with it.
Manchester, England
April 2004
A worn out shop frontage which appears to be quite plain to start with, but click on the image and look closer for little details to enjoy - the decorative gate and red box, the way the black paint points up every little texture and shadow, the strip across the top with just the partial rust and black coverings left, the layout of the panels on the left with their columns topped off by unpainted flourishes.
Often it's not until after I get the photos back that I notice the wealth of details like this - for me, this is one of the wonders of photography, allowing you to take a good long look at something years after you only spent a short amount of time with it.
1700
Budapest, Hungary
March 2005
It was nice to bring these two balconies with roller blinds home. Buildings like this are always nice to capture, as you have to wonder how much longer they are going be around. Many buildings I have photographed are now gone.
I always try and get a detailed location or address when I take a shot, and I have often revisted sites years later to find something very diferent, or often more interestingly, very much the same. Some images in the colection record these return visits years later.
Budapest, Hungary
March 2005
It was nice to bring these two balconies with roller blinds home. Buildings like this are always nice to capture, as you have to wonder how much longer they are going be around. Many buildings I have photographed are now gone.
I always try and get a detailed location or address when I take a shot, and I have often revisted sites years later to find something very diferent, or often more interestingly, very much the same. Some images in the colection record these return visits years later.
1800
Yellowstone National Park, Wyoming, USA
September 2005
A nice dark and moody shot with plenty of atmosphere and intrigue. Beautiful patterns in the layers of sediment, and a little splash of subtle colour.
The unusual beauty of Yellowstone was a challenge to capture. I did get a very pleasing set of images, you can see a whole lot more of them in the dedicated Yellowstone exhibition by clicking here.
Yellowstone National Park, Wyoming, USA
September 2005
A nice dark and moody shot with plenty of atmosphere and intrigue. Beautiful patterns in the layers of sediment, and a little splash of subtle colour.
The unusual beauty of Yellowstone was a challenge to capture. I did get a very pleasing set of images, you can see a whole lot more of them in the dedicated Yellowstone exhibition by clicking here.
1900
London, England
March 2006
You can get to this area at low tide when the bed of the River Thames becomes a beach. I always feel a frisson of danger under piers and wharves - knowing that in a few hours everything will be underwater.
There's always an interest for me in the places where people don't go. I've gotten into lots of them by squeezing through gaps, peeking around corners, and looking at the back of things you only usually see the front of. These secret places are only ever e few steps away.
London, England
March 2006
You can get to this area at low tide when the bed of the River Thames becomes a beach. I always feel a frisson of danger under piers and wharves - knowing that in a few hours everything will be underwater.
There's always an interest for me in the places where people don't go. I've gotten into lots of them by squeezing through gaps, peeking around corners, and looking at the back of things you only usually see the front of. These secret places are only ever e few steps away.
2000
Granada, Spain
October 2006
The human eye has a very clever way of balancing light and colour, something that photographs point out very clearly. I tried a few exposures here, and this nice dark one gives a magical feeling to what was in fact a fairly bright, domed room.
Granada, Spain
October 2006
The human eye has a very clever way of balancing light and colour, something that photographs point out very clearly. I tried a few exposures here, and this nice dark one gives a magical feeling to what was in fact a fairly bright, domed room.
Sometimes photos haven't captured what you wanted at all, sometimes, as with this one, you get exactly what you wanted, something that only existed in your mind, which your eyes couldn't have seen on the day.
Click on any image to see a larger version.
If you would like a print, please make a note of the unique identifying number, then click here.
If you would like a print, please make a note of the unique identifying number, then click here.
2100
West Sussex, England
July 2007
I have to confess to a certain fascination with the look of railways, and images of trains, rails, stations and everything that goes with them pepper the collection. This picture takes that and also add some other of my obsessions - peeling paint, old wood and some nice rusty hinges.
The exhibition from the Latvian Railway Museum is heavy on railway equipment and Soviet iconography. You can see it by clicking here.
West Sussex, England
July 2007
I have to confess to a certain fascination with the look of railways, and images of trains, rails, stations and everything that goes with them pepper the collection. This picture takes that and also add some other of my obsessions - peeling paint, old wood and some nice rusty hinges.
The exhibition from the Latvian Railway Museum is heavy on railway equipment and Soviet iconography. You can see it by clicking here.
2200
Misol-Ha, Mexico
September 2007
Another image showing those areas less seen. This was on the ground in a hidden corner just a few steps away from Misol-Ha - beautiful waterfalls that are a big tourist draw.
I'm used to seeing mistranslated signs, and international symbols to represent universal ideas, but what is this all about?
Misol-Ha, Mexico
September 2007
Another image showing those areas less seen. This was on the ground in a hidden corner just a few steps away from Misol-Ha - beautiful waterfalls that are a big tourist draw.
I'm used to seeing mistranslated signs, and international symbols to represent universal ideas, but what is this all about?
2300
Riga, Latvia
March 2008
A great example of making something into a successful image by throwing a frame around it. I'll think carefully about the compostion of an image like this, and try a few setups through the lens before taking the picture. As well as positioning the yellow box, this one has the cracks, shadows and missing chunks of paint to consider.
I like the story an picture like this tells. There used to be sign here on a yellow wall that has then been repainted white around the sign. The sign has been taken down or fallen off, revealing the old wall in an archaelogical fashion.
Riga, Latvia
March 2008
A great example of making something into a successful image by throwing a frame around it. I'll think carefully about the compostion of an image like this, and try a few setups through the lens before taking the picture. As well as positioning the yellow box, this one has the cracks, shadows and missing chunks of paint to consider.
I like the story an picture like this tells. There used to be sign here on a yellow wall that has then been repainted white around the sign. The sign has been taken down or fallen off, revealing the old wall in an archaelogical fashion.
2400
Between Riga, Latvia and London, England
March 2008
I've got a lot of pictures of views from planes - I love the window seat. It's the cloud scapes I'm usually more interested in than the sky high view of the land beneath them.
Every flight offers something different, from fluffy light clouds like this to a solid creamy, snowy covering, always ending with an inderminate horizon topped with clear blue sky.
Between Riga, Latvia and London, England
March 2008
I've got a lot of pictures of views from planes - I love the window seat. It's the cloud scapes I'm usually more interested in than the sky high view of the land beneath them.
Every flight offers something different, from fluffy light clouds like this to a solid creamy, snowy covering, always ending with an inderminate horizon topped with clear blue sky.
2500
St. Mary's, Isles of Scilly
July 2008
I've never added it all up, but I reckon images like this of solitary windows are probably one of the most numerous types in the collection.
This one is actually one of a pair - the other one (2499, see it by clicking here) is very similar, but the black wooden cap has been laid differently to fit the stones. I've shot a lot of images like this - sets of two, three, four or more that become a lot more interesting when seen together, particularly when hung together on the same wall.
St. Mary's, Isles of Scilly
July 2008
I've never added it all up, but I reckon images like this of solitary windows are probably one of the most numerous types in the collection.
This one is actually one of a pair - the other one (2499, see it by clicking here) is very similar, but the black wooden cap has been laid differently to fit the stones. I've shot a lot of images like this - sets of two, three, four or more that become a lot more interesting when seen together, particularly when hung together on the same wall.
2600
London, England
August 2008
There were four of these pipes sticking up on a vacant swath of land - I shot all four from this same angle to create a nice little set of images. I'm not quite sure what they are, but like everything in London attached to the ground with an open top, they're now treated as bins.
The flaking paint is great, a nice duck egg blue that contrasts with the dull rust beneath. It was a crisp, sunny day, so the shadow falls nicely off the corner.
London, England
August 2008
There were four of these pipes sticking up on a vacant swath of land - I shot all four from this same angle to create a nice little set of images. I'm not quite sure what they are, but like everything in London attached to the ground with an open top, they're now treated as bins.
The flaking paint is great, a nice duck egg blue that contrasts with the dull rust beneath. It was a crisp, sunny day, so the shadow falls nicely off the corner.
2700
Marrakech, Morocco
October 2008
Cutting compositions in half is against the rules if you read a lot of instructive material about 'taking a great photograph'. Personally, I love to do it, and also to create abstract compositions from everyday situations. By framing carefully, the whole world starts to look like an abstract expressionist painting.
For me it's all about finding balance in weight and colour within the frame, much like painters such as Barnett Newman and Piet Mondrian.
Marrakech, Morocco
October 2008
Cutting compositions in half is against the rules if you read a lot of instructive material about 'taking a great photograph'. Personally, I love to do it, and also to create abstract compositions from everyday situations. By framing carefully, the whole world starts to look like an abstract expressionist painting.
For me it's all about finding balance in weight and colour within the frame, much like painters such as Barnett Newman and Piet Mondrian.
2800
Marrakech, Morocco
October 2008
Another example of paring down the composition to basic elements. I loved the dusty reds in Marrakech, colours that work really well in many of the pictures I took in Morocco.
A number always adds a little something, one of the little humanising touches that I love so much. Address numbers in particular bring a grounding sense of place and belonging to more abstract compositions like this one. Many of my favourite images I've shot include numbers.
Marrakech, Morocco
October 2008
Another example of paring down the composition to basic elements. I loved the dusty reds in Marrakech, colours that work really well in many of the pictures I took in Morocco.
A number always adds a little something, one of the little humanising touches that I love so much. Address numbers in particular bring a grounding sense of place and belonging to more abstract compositions like this one. Many of my favourite images I've shot include numbers.
2900
London, England
February 2009
Having used digital in my commercial work for some time, it was in early 2009 I moved across to shooting exclusively digitally in my art. The change in medium brought a whole raft of benefits and challenges, but on the whole my range of subjects and ideas has expanded wildly, enabling me to shoot whatever I want without counting the cost of every shutter push.
This is the first digital shot in this exhibition, I like the quiet crispness of the leaves, and the two pieces of stone wreckage relate to each other really well.
London, England
February 2009
Having used digital in my commercial work for some time, it was in early 2009 I moved across to shooting exclusively digitally in my art. The change in medium brought a whole raft of benefits and challenges, but on the whole my range of subjects and ideas has expanded wildly, enabling me to shoot whatever I want without counting the cost of every shutter push.
This is the first digital shot in this exhibition, I like the quiet crispness of the leaves, and the two pieces of stone wreckage relate to each other really well.
3000
Venice, Italy
March 2009
Two trips to Venice in 2009 were hugely productive photographically, the decaying majesty on every street really appealed to me. I also now had the unlimited luxury of shooting digitally, so I took a lot of pictures.
This one falls in the middle of a set of reflective images. It feels very evocative of the place, without I hope being too clichéd. It's very easy to take the usual tourist shots in Venice - the canals, the gondolas, the reflections, it's all very photogenic. I hope I managed to avoid some of those traps. One aspect of these shoots is showcased in the Evening in Venice exhibition.
Venice, Italy
March 2009
Two trips to Venice in 2009 were hugely productive photographically, the decaying majesty on every street really appealed to me. I also now had the unlimited luxury of shooting digitally, so I took a lot of pictures.
This one falls in the middle of a set of reflective images. It feels very evocative of the place, without I hope being too clichéd. It's very easy to take the usual tourist shots in Venice - the canals, the gondolas, the reflections, it's all very photogenic. I hope I managed to avoid some of those traps. One aspect of these shoots is showcased in the Evening in Venice exhibition.
Click on any image to see a larger version.
If you would like a print, please make a note of the unique identifying number, then click here.
If you would like a print, please make a note of the unique identifying number, then click here.
3100
Venice, Italy
March 2009
Like pretty much anywhere I go, the doors and the windows of Venice appealed to me. These membranes into a building's interior come in such a wide variety of shapes, sizes, colours and conditions.
There were five of these windows in a row, I have a picture of each, and they work well as a set. I think the possibilty for more sets of images expanded once I was shooting digitally, it becomes easier to review what you already have and take the other photographs to match and complement perfectly.
Venice, Italy
March 2009
Like pretty much anywhere I go, the doors and the windows of Venice appealed to me. These membranes into a building's interior come in such a wide variety of shapes, sizes, colours and conditions.
There were five of these windows in a row, I have a picture of each, and they work well as a set. I think the possibilty for more sets of images expanded once I was shooting digitally, it becomes easier to review what you already have and take the other photographs to match and complement perfectly.
3200
Venice, Italy
March 2009
There's so much wood and stone in Venice, something like this really jars. As a city, it does better than most at hiding it's vents, pipes and conduits from the masses. But they are there, and if anything, the generally damp conditions mean nothing like this looks new, it's all rusted and decayed - which I really enjoyed.
Venice, Italy
March 2009
There's so much wood and stone in Venice, something like this really jars. As a city, it does better than most at hiding it's vents, pipes and conduits from the masses. But they are there, and if anything, the generally damp conditions mean nothing like this looks new, it's all rusted and decayed - which I really enjoyed.
3300
London, England
May 2009
Another example of slicing the composition in half. This was a set of garages, each of them with their number added in a slightly different place, each owner fitting different padlock and bolt systems, but all with the same red wooden doors.
It's a set of thirteen images that I would love to see on the website at some point. The bolts, padlocks, hasps and locks make for great compositional elements, variations on a theme all placed on the beautiful red slat background.
London, England
May 2009
Another example of slicing the composition in half. This was a set of garages, each of them with their number added in a slightly different place, each owner fitting different padlock and bolt systems, but all with the same red wooden doors.
It's a set of thirteen images that I would love to see on the website at some point. The bolts, padlocks, hasps and locks make for great compositional elements, variations on a theme all placed on the beautiful red slat background.
3400
London, England
July 2009
Half and half again. This one sits in the frame really well, the colours are great, and text is suitably mysterious.
This is part of a shipping container - I've taken a few shots of these, they turn up in the most surprising places. Great monolithic objects, yet also somehow invisible and anonymous.
London, England
July 2009
Half and half again. This one sits in the frame really well, the colours are great, and text is suitably mysterious.
This is part of a shipping container - I've taken a few shots of these, they turn up in the most surprising places. Great monolithic objects, yet also somehow invisible and anonymous.
3500
Craster, England
September 2009
I take photographs down through water from time to time - I like the two picture planes of the surface and the bottom.
This is a nice and simple but very pleasing composition - the crack flowing underneath the rock, and the reflective wisps of the water over everything.
Another good example of how showing every hundredth image can throw up some interesting examples!
Craster, England
September 2009
I take photographs down through water from time to time - I like the two picture planes of the surface and the bottom.
This is a nice and simple but very pleasing composition - the crack flowing underneath the rock, and the reflective wisps of the water over everything.
Another good example of how showing every hundredth image can throw up some interesting examples!
3600
London, England
October 2009
From the rock pools of Northumberland in 3500 to a basement in London for 3600.
I love the dynamic lines in this image. It was taken with a wider lens, so the brickwork stays nice and straight, flooding across and out of the image.
As 'The Hundreds' comes more up to date, I am happier and happier with the images, which is a good thing.
London, England
October 2009
From the rock pools of Northumberland in 3500 to a basement in London for 3600.
I love the dynamic lines in this image. It was taken with a wider lens, so the brickwork stays nice and straight, flooding across and out of the image.
As 'The Hundreds' comes more up to date, I am happier and happier with the images, which is a good thing.
3700
London, England
January 2010
This was during a big freeze in London, at the Regents Canal. The barges had continued cruising through the ice, cutting this path as they went. As the days went on, some shards of ice travelled over and under the other ice and created an interesting range of effects.
London, England
January 2010
This was during a big freeze in London, at the Regents Canal. The barges had continued cruising through the ice, cutting this path as they went. As the days went on, some shards of ice travelled over and under the other ice and created an interesting range of effects.
3800
London, England
April 2010
This was part of a set of fourteen images that together detail the facade of this fantastic abandoned building. Details of this one and four others have been put together as a single artwork called Rely-A-Bells. You can see that as part of the Photography Collective Spring 2001 Exhibition Catalogue here.
This technique of collecting images together into one artwork is something I plan to do more of, as some images just work together so well.
London, England
April 2010
This was part of a set of fourteen images that together detail the facade of this fantastic abandoned building. Details of this one and four others have been put together as a single artwork called Rely-A-Bells. You can see that as part of the Photography Collective Spring 2001 Exhibition Catalogue here.
This technique of collecting images together into one artwork is something I plan to do more of, as some images just work together so well.
3900
Jackfield, England
September 2010
A lot of the buildings that drove the Industrial Revoltuion in Shropshire have been preserved, which in many cases means just left standing rather than restored. It means you get lots of little corners and details like this one, left to fall apart at it's own pace.
This is a nice study, with some delicious details. Again, some aspects of half and half composition, here more of a yin and yang effect. Another example of carefully selecting a certain composition that feels balanced and comfortable.
Jackfield, England
September 2010
A lot of the buildings that drove the Industrial Revoltuion in Shropshire have been preserved, which in many cases means just left standing rather than restored. It means you get lots of little corners and details like this one, left to fall apart at it's own pace.
This is a nice study, with some delicious details. Again, some aspects of half and half composition, here more of a yin and yang effect. Another example of carefully selecting a certain composition that feels balanced and comfortable.
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If you would like a print, please make a note of the unique identifying number, then click here.
If you would like a print, please make a note of the unique identifying number, then click here.