Tag Archives: creativity

Slowing down: shooting a full roll of film (again)

One of the things that I (and others) say we like is about medium and especially large format photography is that it “slows down” the process of making images, with the implication that this is something that is harder to do with the advent of digital photography.

Certainly, with large memory cards and every image being “free” (they’re not, of course, but let’s not discuss that just now!), it can seem easy to just click away like mad.  In fact, I often have my DSLR set to “continuous” (which means something ridiculous like 6fps – though I very rarely shoot more than one frame at a time).  In the old days, before I bought my first DSLR in 2008, I used 35mm film all the time and often I’d use a single roll for each “event” in order to make cataloguing easier (sad but true!), and then hopefully one or two images on each roll would be vaguely ok.  This meant, for example, that if going for a walk, I would use a whole film up so that I could easily identify the 36 or 37 images from one particular occasion (there was no EXIF data!).  I know I am not the only person who did that, but one thing it did was force me to make photographs – and of course, many of them were pretty rotten.  Somehow, I never really made the connection between “speed” – “thoughtlessness” – “quantity” – “rotten photos” or at least, it took me a while to make that connection! ūüôā

This continued when I first bought a DSLR too, partly because, you know, photos were suddenly “free”(!) – I would take LOTS of photographs, on the basis that at least some would work out.  Of course, many were deleted, and many reside on a hard disk, never to be seen again.  It was my first weekend photo workshop with Bruce Percy in Torridon in 2009 that made me begin to slow down a bit, and I’m tremendously grateful to him for helping me to do that.

Now I go for long walks and whilst I often take a camera with me, I rarely even take it out of the bag other than to make a quick snap of something I might want to come back to later: most of my “real” photography happens when I go out in order to make photographs. But I know that I can now compose and create images more thoughtfully and deliberately at speed (I’ve photographed at events, incl. weddings, when that is a necessary skill), and I wondered if that might still be the case if I tried to use a whole roll of film in one go.

The rules for the day!

The rules for the day!

So earlier this week, when we were going out for a family walk, I decided to “shoot a roll” and made a note of some conditions that I would use, setting myself some parameters (I was using a digital camera):

  • I would take exactly 24 or 36 photos (i.e. a full roll of film)
  • I would use only one lens (I chose to use a Lensbaby, a manual focus distorting lens… because, well, just because…)
  • I would allow myself no chimping or subsequent deleting of images – this would be “a complete roll”
  • I would allow myself to crop later to either 5×4 or square format if I thought that was appropriate – in the old days, I just cut prints to make them the size I wanted, so this seemed a legitimate reinterpretation of a pair of scissors!
  • I would mostly use f2.8, partly to accentuate the craziness of the Lensbaby, partly because I knew that I could just be lazy by not changing the aperture (which involves swapping out little metal rings using a wee magnetic stick, and is a bit of a bother; however, it did mean I would need to focus pretty accurately).

So with these restricted parameters, I went with the family on a short walk through the woodlands at the base of Beinn Eighe. I made 24 images, as follows (click to show larger versions):

What thoughts emerge from this?

  1. It’s not a surprise that I used to stress over this kind of thing – 24 photographs in one go is really hard work, and I can’t imagine how I was able to take 36 photos in one go like this!  I actually found this exercise pretty stressful, and the last two images are from the car park – I just could not think about making enough creatively interesting images fast enough.
  2. There is some duplication of vistas, partly because I couldn’t spend time thinking about the best way to make a particular scene “work” for me. And yet… none of these really “work” for me!
  3. Ignoring the distortions produced by the Lensbaby (why didn’t I just take a normal 50mm lens with me??), most of the images are vaguely ok, but they’re nothing very special – they are clearly composed at speed and with no contemplation time.  Furthermore, I was constantly trying to keep up with the family – it’s notable that the one image (no. 13) that includes them shows them from behind – and that just adds to the pressure!
  4. The images that are ok follow very conventional patterns of imagery – rule of thirds and such like – and that is what makes them ok.  I didn’t actively think about that kind of thing, it comes pretty naturally.  However, there’s nothing like the sand/grass/sky image that I wrote about in my last posting, which is a more creative, imaginative and personal interpretation of a location than any of these images will ever be.  These are mostly just pretty boring (though I quite like no. 21).

So in conclusion, my mental photographic processes have clearly slowed down considerably in recent years and they don’t speed up just because I am using a digital camera, even if every image is “free” (rather than nearly ¬£5 for a large format image – that’s buying the sheet film and getting it processed… oh, don’t let me think about that too much!). And now when I’m out with a large format camera, I am mentally worn out if I take more than about four images in one go, because I now have patience and take the time to compose and think about them, never really in terms of cost, but in terms of a very simple “does it say anything” or perhaps better: “does it say what I want it to say?”  I can easily take 30 minutes or more to contemplate and make a single image.  Many of these tend to be images I want to keep and use, which none of the snapshots above really are.  And this is not just about large format photography, however: I know that when I take my medium format or DSLR cameras out for landscape photography, I am also very slow and deliberate.  It feels like a liberation from the pressures I used to put myself under.  And that is rather wonderful.

And now, having inflicted lots of mediocre images on you, here’s one I rather like from a few days later. I took some time over this one, using my DSLR and a 50mm lens (my most frequently used focal length). I didn’t use a tripod, but lay in the grass to stabilise the camera and my thinking.  This little row of buttercups by the shore line at Rhue, north of Ullapool, is very simple, and although they take up such a little space at the bottom of the image, there’s a tenacity to their joyous yet fragile beauty that contrasts with the dark hard stone behind them – and I thought it was rather lovely.

Tenacious beauties: buttercups at Rhue

Tenacious beauties: buttercups at Rhue

Once I’m back home I’ll also get all my film processed, and then I hope to post other images from my time here too.  All of them took longer than the “roll” above!


Postscript, 27.7.2015 (prompted by comments received to the original posting)

Of course, this blog posting is mostly about the reactive encounter with a new context. I am not seeking to make any comment about the thinking processes that go on before stepping out of the house. The key issue around making snapshots to come back to at a later date describes my way of working with subjects that I might find helpful for a particular theme a week, a month, a year later. Confusing the processes of conceptualisation and reactive thinking is easily done, and is one reason for a lot of bland photography – reactive thought is often mistakenly thought to be conceptual (it rarely happens the other way around, but it does also happen, with tedious and overwrought imagery being the result)

These processes are related, for sure, but are also distinct.

These processes also inform each other: I would assume that to be obvious to most people.


Making photographs is not like riding a bicycle

What started as a slightly flippant tweet has made me think more about photographic processes, especially after what feels like a long time away from making images (and I am not really talking about the Danny MacAskill type of cycling!).

There is a ‘proper’ explanation for why we do not forget how to ride a bicycle, but my point in the tweet was to suggest that it takes me time to rediscover how I might make images that work for me.¬† Picking up a camera again was easy enough, and doing the mechanistic things was straightforward – settings, pleasing compositions etc. – but since the beginning of the year I feel as if I’ve been relearning what it means to make images that I like, that speak to me – and by that I mean more than just being pleasing.

Early February 2015: A good walk not spoiled

Early February 2015: A good walk not spoiled

Producing images that communicate something more, that relate emotionally is more of a challenge than producing pleasing images.¬† I used to buy disposable cameras to explore this kind of thing.¬† Now I’ve just been making lots of digital images, partly on a DSLR, partly with my iPhone.¬† I’ve even opened an EyeEm account, though I may not keep that going for long.¬† Gradually, I feel I’m getting the hang of things again, through a lot practice.

On Saturday I went for a 5 hour walk into the Fintry Hills with the large format camera.¬† That’s a heavy bag to carry that long – I had intended to be out for just a couple of hours, but was enjoying being out a bit too much to go home so soon, and just decided to keep going.¬† I have been out the large format camera several times recently, but this time I even took it out of the bag and made a photograph (now I just need to get it processed).¬† It felt good – regardless of how the image turns out, I felt I was connecting with myself again, and the camera was enabling me to express that.¬† Last year’s bout of depression may actually have been overcome, at least for now.¬† And that’s not all just down to chocolate, but to the love of those around me, in real life and in virtual life, for which I am tremendously grateful.¬† Having said that, chocolate has a key part to play, too:

Syd Krochmalny and Simon Yuill: visual cultures in Argentina and Scotland

On Thursday I attended an event organised by my colleagues, Sarah Wilson and Scott Hames. Syd Krochmalny and Simon Yuill addressed the topic of visual cultures in Scotland and Argentina.

Sarah Wilson introducing the seminar, and Syd Krochmalny

Sarah Wilson introducing the seminar, and Syd Krochmalny

Syd is a sociologist and artist based in Argentina; he mostly works on video installations addressing social issues. In Argentina it is very unusual to work in both art and sociology. Simon Yuill is an artist and writer based in Scotland, who has been heavily involved in The Strickland Distribution and Variant magazine. I thought it might be of interest to publish my notes on their two presentations – I make no guarantees regarding absolute accuracy, but I hope to have recorded some key elements of their talks.


Syd gave a presentation entitled The Crisis of Success: Visual Arts in Argentina 2001-2011, describing a move from an art utopia to a market utopia. There are three distinct periods in a chronological account of this period: 1) a social crisis related to the financial crisis of 1997-2003, that came to a head in 2001; 2) an expansion of the art world from 2003-2007, in part as economic recovery happened; 3) from 2005, however, there was a severe fragmentation of the art world. Although the current situation is often seen as beginning with the 2001 economic crisis, the root of this crisis in turn lies in the implementation of neoliberal policies from 1975 onwards that led to the total collapse of the economy in 2001.

Social relationships during the 2001 crisis became critically important. Different forms of art appeared; so, for example, street art that critiqued the social order played a key role in helping a better understanding of what was happening in the country. This was an artist-led movement, and the artists – through mutual recognition and cooperation – were the ones who legitimated their work, indeed, the creativity of their work in itself legitimated what they were doing. This meant there was no need, no call for, no desire for, external and/or institutional legitimation. This is not to say that there were no problems in this period (for example, there were many long debates about the distinction between art and politics, between creativity and social action), but it was a tremendously creative time for a wide range of artists who produced all kinds of interesting visual work that helped to change the way people understood their situation.

Syd Krochmalny (with Sarah Wilson)

Syd Krochmalny (with Sarah Wilson)

As the economy improved (2003-2007), a more formal art market and parallel institutions began to develop. These appeared to increase artists’ opportunities to create. Galleries rapidly made international connections to the global art world and consequently began to direct work to make it ‘fit’ into what was perceived to be an international artistic community, culminating in a 2011 pavilion being bought by the Argentinian government at the Viennese Biennale. However, as artists began to participate in the global art market, it was noticeable that they began to fall into line with the market-led art institutions. Disagreements emerged over how to react to the marketisation: is this art or political action? is it ‘inside’ or ‘outside’? is the creator an artist or a social agent? what has primacy: a love of art or professionalisation? are people (still) working for themselves? Many artists felt themselves to be caught up in a series of contradictions, and struggled to reconcile these divergent positions.

These changes in the Argentinian art world, brought about directly by the commodification of an artistic practice – street art – that had emerged in a context of social action, did not just impact upon the artists of the time, but also impacted upon the new generation of artists. This new generation, however, do not feel the same contradictions about their work as their elders. In part this comes because their work integrates social and political issues from the beginning: in their understanding, activism itself can be a commodity, with artists working with disadvantaged groups in favelas (urban shanty towns), for example. Furthermore, many of the younger artists come from upper and upper-middle class backgrounds whose parents already have some kind of established connection to the art world, perhaps as gallery owners, art editors etc. This essentially makes this younger group of artists an ‘aristocracy’ utilising privileged family connections to further their work. A lack of social movement is the result, heralding a less equal society. Syd termed this ‘social closure’, pointing to the success of the art world in the post-economic crisis period: “The simultaneous qualitative and quantitive growth of institutions, of the market and in the number of artists has produced a ‘social closure'” – of course, this also mirrors wider stratification of society.

Therefore, although there might appear to be a vibrant new art scene that has emerged in recent years, Argentinian art, Syd argued, is actually facing a ‘crisis of success’ as a result of the commodification of what had previously been a means of critiquing neoliberalism. The problem now, he argued, is that neoliberalism appears in many instances to have taken over the critical nature of art, and thereby neutered the critical edge.


Simon noted that Scotland has not, of course, had to cope with the same kinds of crises as Argentina. But other crises in the art world have emerged, also centred around neoliberal marketisation. For example, the very idea of there being ‘creative industries‘ is inherently problematic as a means of valorising artists’ work. There is a contradiction in this statement: it appears to be something outside the ‘art world’, but is valorised within it. This leads to ‘organisation isomorphism’, a term that originated with analyses of the co-operative movement. It describes the ways in which the egalitarian and horizontal nature of co-ops began to change to meet the needs of external actors, resulting in hierarchies and more vertical structures (chief executives, spokespeople etc.). Regardless of how an organisation conceives of itself, it is forced to change in order to interact with external agencies. In the art world, this is especially manifested in artist-led groups’ relationships to funders, and there is clear evidence that artist-led groups begin to mirror the structures desired by funders. These market-driven imperatives also then impact upon the priorities of the groups concerned and even the areas deemed appropriate to work in. Jennifer Wolch’s work on ‘the shadow state’ discusses precisely this issue: she shows how governments co-opt critical and liberatory movements, thereby maintaining control over them.

Simon Yuill

Simon Yuill

Simon pointed to two key ways, amongst others, in which this manifested itself:

  • there is a general issue about the access to resources: artist-led groups need funding, and they often need space in which to work.
  • there are also constraints imposed upon artistic expression through the market or the state. Such constraints are often structural (how to organise in order to suit funders, for example, becoming charitable bodies etc.) or situational (relating to opportunities and threats) or operational (when regulatory norms determine a group’s behaviour).

Elaborating on these a little more, Simon pointed to some examples:

  • artist-led groups might, for instance, want to make use of collective spaces, but the allocation or continued use of these can be problematic. Long-standing arrangements that might exist (use of unwanted buildings for nominal rents etc.) are subject to sudden and unpredictable change. In Glasgow the city council has a long history of offering artist-led groups cheap rent for buildings they did not use but wanted to keep. However, in 2010 the council created a private property management company and many of these buildings were transferred to it. Two key things have now changed: high rents are being threatened (from a ‘peppercorn’ ¬£1 to a ‘market-rate’ of ¬£700 in one example that Simon gave), and new leases have been issued that include liability for maintaining the buildings, meaning much of the risk in using the buildings is being transferred to the artists. Evictions have become a real possibility.
  • the (former) Scottish Arts Council created a funding scheme to enable artists to be given opportunities to sell art commercially (using galleries and so on). This does not account for artists who may want or need to create art that is not for selling but that might have a different rationale behind it. The marketisation and commodification of art is a long way from the original¬†raison d’√™tre of some of these artist-led groups.
  • a key threat to artist-led groups is the constant worry about the possibility of funding that has been granted then being withdrawn (Simon’s Variant magazine is an example of this). Creative Scotland (the successor to the Arts Council), has been heavily criticised for cancelling a flexible funding scheme that enabled longer-term planning, as it could be used to cover a groups’ core costs. Now Creative Scotland focus only on project funding – and yet core costs still exist, of course. Furthermore, as this is all project-led, the funding is more easily withdrawn. Perhaps most seriously, project-led funding means that every single project needs to be vetted by Creative Scotland, resulting in hierarchical, top-down directing of what artists are doing.

In the wider context there is a suggestion that all of these funding and creative elements are part of an ‘art world ecology’. This kind of language suggests complex, self-sustaining, self-regulating structures – but it fails to recognise that ecology tends towards collapse as much as towards sustenance. This becomes visible in the hierarchy of art schools, through to artist-collectives, small galleries, and then larger (even national) galleries. The ‘industry’ of art managers, curators, funders and so on all play a part in the isomorphism of artistic creation.

In Scotland we have seen the emergence of a reactionary discourse that claims to protect, but actually reins in, artistic practice. The result is that artist-run practice can be seen as a kind of medieval guild system that includes a revival of a bourgeois structure, including hierarchisation and the construction of privileged networks. An increasing emphasis on philanthropy is a marker of this phenomenon. Subversion is claimed as if art is inherently subversive, without actually showing or declaring how this might be the case. The result is the establishment of an order, a bourgeoisie.

Of course, an artist-run space is not inherently subversive. It is more complex than that: subversion needs to be regained, not by invoking creativity per se, but by placing the artist as a worker, albeit a precarious worker (see the recent discussion around the widespread emergence of a ‘precariat’). In so far as possible, removing the effects of organisational isomorphism has the potential to enable the re-emergence of a more subversive art.

Concluding comments

In a week when the Tory Minister for Culture, Media and Sport, Maria Miller, displayed breathtaking levels of ignorance and philistinism in discussing the place of the arts in society (see Tiffany Jenkins’ comment from a Scottish perspective on Miller’s speech), the presentations by Syd Krochmalny and Simon Yuill offered clear analyses of the malign influence of neoliberalism on artistic cultures. The discussion that ensued picked up a number of these themes, but I think it perhaps best to end with a memorable line from Syd that seemed to me to encompass a key point of what both he and Simon were describing:

“Art is the possibility to create, all the time, the definition of art.”

Photograms at the Alt-Photo Festival

I had a wonderful time at the Alt-Photo exhibition in the Edinburgh Botanic Gardens yesterday – not only seeing work by Alastair Cook, Alex Boyd, Lucy Telford and others (it is always a delight to see actual prints, rather than just images on a computer screen) – but also having the opportunity to create photograms, something I had never done before. The process of creating a photogram is very simple, but offer great potential to create unusual and conceptually-stimulating images. Kenny Bean, the organiser of the Alt-Photo Festival, led the workshop. Here are my five efforts…

First photogram - layers of leaves

First photogram – layers of leaves

Photograms are a form of camera-less photography: light-sensitive paper has objects placed over it to prevent or change the amount of light that can reach it, and the paper is then subjected to a light, and put through standard developer baths, and washed and dried. And that is all there is to it!

Second photogram - an image of halves

Second photogram – an image of halves

Kenny had 5″x7″ wooden frames for us, with a clear sheet of plastic over the top, and a collection of all kinds of interesting leaves and plants – this was all taking place in the Botanics! – that we could place onto the plastic, along with scissors to manipulate and cut the leaves as we wanted – as you can see, for the second image above I cut half the needles off each little piece. Having arranged the image, the frame was taken through to the darkroom, photographic paper inserted under the plastic, and this was then exposed under an enlarger light. All the images here were exposed for between 6 and 20 seconds. Then the paper goes into the developer (60s), stop bath (10s), fixer (60s), and then washed in a tub of water and left to dry.¬† The key issue here is the length of time that the enlarger is on for: too short and insufficient light gets through the leaves and there is no detail of leaf veins etc., but too long, and it burns through.

Kenny told us that each time we went into or out of the darkroom we were to whistle a tune so that we’d avoid running into people who might be going in the other direction.¬† I can’t whistle, but after the delight of making the first two images and beginning to appreciate the possibilities here, I was cheerfully singing to myself anyway.¬† The song going through my head at this time was Karine Polwart’s Hole in the heart (from her Scribbled in Chalk album), that I’d been listening to in the morning:

This resulted in an obvious kind of image:

Third photogram - Karine Polwart, "Hole in the heart"

Third photogram – Karine Polwart, “Hole in the heart”

I wanted to try something with more fragile leaves, since the first and third exposures had not shown the veins in the leaves in the way I had hoped for (I had guessed the exposures incorrectly):

Fourth photogram - delicate leaves

Fourth photogram – delicate leaves

My fifth image was intended to be a representation of a simple bunch of flowers, trying out something with the fine needles to see if I could use them as I wanted for my final image, which would be a bit more intricate:

Fifth photogram - a bunch of flowers

Fifth photogram – a bunch of flowers

That worked just the way I wanted – but I didn’t manage to actually create my final image because I ran out of time.¬† This means I have a great excuse to get do more with photograms at some point! ūüôā

Why is this process so wonderful?¬† I had great fun, but after an hour practising in a workshop I don’t think I’m really qualified to answer this question.¬† However, I am really struck by the fact that the process is so simple, and therefore it doesn’t get in the way of creativity.¬† It is sort of obvious to use leaves to create images, and a quick online search turns up lots of photograms a bit like my fourth image here.¬† That’s lovely, but just like the ‘arty’ Lensbaby blurs of flowers, a bit boring after one has seen the first few.¬† The challenge with this process is very obviously in the pre-visualisation of something new, something that speaks of a wider concern or interpretative need, something that other photographic processes can’t achieve, for whatever reason.¬† If you want to look at some rather amazing examples of what I mean, take some time for Lucy Telford’s photograms: she is creating really thought-provoking and emotional images (in colour too – apparently that’s even more difficult!).

Finally, if you haven’t previously been to the Alt-Photo Festival, make sure you go (if not this year, then next…).¬† All the developer and paper used were provided by those lovely people at Ilford – now I’m off to look up their website and think about what I might need to order!

PS the promised blog posting on the privatisation of modernity in contemporary photography really is coming, once it’s been completed and shortened a bit…!

Nervousness and questions of interpretation

I should be finishing the first page on wind farms (or working on a lecture for tomorrow!), but I wanted to share some reflections that I have found I can articulate quite clearly at the moment…

There are good reasons not to publish photographs. Some are very good reasons – the best reason of all probably being that the photograph in question is rubbish! Rubbish? Is that too harsh? How about “does not correspond to the pre-visualisation”?! (By the way, Alan Ross has just written an interesting post about Ansel Adams’ first moment of real pre-visualisation, if you’ve not come across this story before.) Of course, some are just rubbish! ūüėČ

However, many are not. Many might even be rather good: they are technically fine, they are reasonably well composed, and the exposure is sufficiently on target for it to be usable. And yet… and yet…

The safety of darkness (Loch Leven, December 2012)

The safety of darkness (Loch Leven, December 2012)

… I don’t then click that “Export” button in Lightroom – the first step in moving an image onto my website and making it available to others to see. It’s not that I worry about what people will think of it: there are a select group of friends, particularly on Twitter, whose opinion I greatly value, but I wouldn’t not publish something just because I thought someone might not like it, nor would I publish something just because I thought someone might like it! Those who know me personally will know that I’m not really that bothered by what it is that others think in this kind of context.

The welcoming warmth of the cold (Loch Leven, December 2012)

The welcoming warmth of the cold (Loch Leven, December 2012)

No, the problem – if problem it is – is that I am not happy to share the image. My finger metaphorically (and sometimes literally) hangs over Lightroom’s “Export” button, and I study the image once more. And thoughts appear, almost as involuntary spasms in my brain: “it’s just another hillside”, “haven’t I photographed XYZ frequently enough?”, “what do I think I’m really adding to the world with this?” – and so on. Whilst some of these stop me, none of them necessarily do so. But there is another thought that does. So I don’t then click that button – and then nothing appears for others to see. Others being people like you, reading this. What is that thought? Before I come to that, it’s worth taking a step back.

The problem – if problem it is – is simply that in the meantime I know I have sufficient technical ability to be able to produce a certain kind of image and for it to come out reasonably well. I have many technical skills still to learn and don’t deny that, but I have come a long way from relying on the ‘auto’ setting! Now I’m wanting to inject more into the image, more than compositional ability, exposure, and so on. Now I seek to impart meaning through it.

First flight (Loch Leven, December 2012)

First flight (Loch Leven, December 2012)

However, the problem – if problem it is – is that this meaning is not just down to me. Yesterday, the wonderful¬†Deborah Parkin released this photograph, which I interpreted as the child (Deborah’s daughter, Fleur) being content and self-assured; Lucy Telford, another talented photographer, said that it “Captures that self-contained feeling – poignant – signs of growing up, going inside oneself, inevitable but somehow sad.” Deborah responded to us both, noting that we saw the image differently, but with some commonalities. It is stating the obvious, but so much of the interpretation of an image is down to the viewer. Sometimes this chimes with the intentions of the photographer (for example, I understand from their interaction on Twitter and the comment she left that Rob Hudson’s interpretation of Lucy’s recent new image corresponds closely to her initial vision), but sometimes it does not. And what makes me far more nervous than someone misinterpreting an image, is someone interpreting it correctly.

The great escape into freedom (Loch Leven, December 2012)

The great escape into freedom (Loch Leven, December 2012)

The problem – if problem it is – centres around how I deal with that. On the one hand, as I said, I am rather stubborn and that means I don’t worry about what other people think of what I do, but there is another side to that. I am aware that I see some things differently to others. In Assynt in autumn 2011 Bruce Percy looked at images I had made in one of the workshop’s critique sessions, and said something like, “ah yes, you see differently” – not as a judgement, just as a comment.¬† What I see, and what I want others to see, varies, of course.¬† All the images in this posting come from a morning last December, spent on the shore of Loch Leven, watching the sun come up – except that I wasn’t that bothered about seeing the sun itself, of course – and they communicate something for me. Should I give them titles that simply say “Loch Leven, 2012”, or should I give them titles that point to my mood at the time? Obviously, I have done the latter, but it takes effort. I was reflecting on a particularly difficult autumn teaching semester at the university – difficult not because of the students, of course, but because of management, and I was wanting to reflect on those experiences. Whether they communicate the same thing for you as they did for me, I don’t know. Do I want to explain what they do for me beyond what I have done here? No, I do not. But do I want to share these images in case you work it out? Of that, I’m not always sure.

The last dark refuge (Loch Leven, December 2012)

The last dark refuge (Loch Leven, December 2012)

Despite what some may think, I’m a fairly reticent kind of person and do not like to give much away. Clicking that “Export” button in Lightroom is the first step not only to others being able to critique an image (“it’s just another hillside!” being an entirely fair response!), but more importantly, it gives others – that’s you – something of me. You get to see something of me, and I’m nervous about showing that, giving something of myself away. I’ve described a related issue in connection to photographing a model (the first image on this page), but my photography is also giving something of me. What you see might not be what I think I am showing, but… it might be. The danger – if danger it is! – is that you see what it is that I am seeing, as happened in the Lucy/Rob example given above, and that makes me nervous. My stubbornness means I don’t mind what people think of my images (good/bad/indifferent) because – as I don’t yet tire of saying – I am making photographs for myself, nobody else. They explore things for me, they explain and dissect and reassemble thoughts, they reveal hidden depths to me, and make me reflect on who I am and what I am doing. And now I’m supposed to share that with others, with you? Are you surprised I’m nervous about doing so, that I often can’t quite make my finger click that “Export” button?

Resignation, followed by return (Loch Leven, December 2012)

Resignation, followed by return (Loch Leven, December 2012)

And yet – getting over that and sharing images, sharing myself, is also a privilege. So thank you for taking the time to read this posting, to look at the images, to think about them. Now, I had better click “Publish” before I change my mind and delete this posting…

Not a review of the year…

Of all the constructions we create in the world, I sometimes think that time is the ultimate construction. Such breaks as exist are created by us, whether this be 1/125 of a second, or the end and beginning of a year. These segments are imbued with meaning only if we give them meaning, and in that context I grow very weary of reviews of the year (the only one I’ve read that is really worth reading is this one, by Deborah Parkin). So that’s not what this short posting is.

Scarista Bay

Scarista Bay

Instead, I want to show briefly where I am: this photograph from the Isle of Harris describes my photographic mood at the moment: a wide, apparently empty desert, with minor undulations and seemingly no points of interest (Michael Jackson clearly shows us that no beach is really empty). The mountains in the distance, to which I am more naturally drawn, seem a long way off, but I think I am perhaps also beginning to see much more in the emptiness of the sands and find new ways of expressing myself in such contexts. The move towards large-format photography is, for me, a part of that, and something that I look forward to developing in the coming months.


Vee, crossing a dark field

At times this is simply about not being alone. In recent months especially, I have felt as if I am walking in the dark with little light, and no idea where I’m going, resulting in much frustration. Often that is quite ok, but at times it can also be rather depressing. But I want to acknowledge all the people who have played a role in keeping me going by engaging in conversation and argument, thereby enabling me to keep going even if there’s not a lot of light. It seems invidious to name people, but… Rob, Lucy, James, Alastair (x2!), Deborah, Alex, Matt, Antonio, Mark, Mabel, Duncan, Mike, Marc, Tom and many more – thank you for the inspiration and motivation to continue exploring different aspects of creativity. A lengthy Twitter conversation with some of these lovely people last night reminded me of how much I value the kind of discussion that enables thinking to be clarified – even if I’m walking in the dark!

In that sense then, happy new year to all…

More on creativity…

For a blog that I am involved in at work, I wrote a piece that may be of interest to photographers too, being all about the breaking down of boundaries and the need for creative spaces.  One of the (as it turned out, key) inputs was from Jason Theaker.  You can read it here: Creativity, academia and Critical Religion.