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Showing posts from 2019


It's October 17th and being a worldwide day of remembrance and an international holiday I had the day off work like everyone else. Before setting off uphill to drop off flowers I cycled along the riverside pathway and detoured to take some photos at the gate. The excavator operator walking away in this pic had just showed me a vintage black and white photo on his phone of the road leading off this site here that he had found online. It was what looked like an early 20th century era image of a small locomotive pulling a series of flatcars loaded with tanks. He said the narrow guage rails they were travelling on were still in place but had been tarmac'd over. I knew 2700 aircraft had been built here during WWI but I didn't know tanks had ever been made here.

View from the gate

The Seal Cub Clubbing Club - Aurienteering

Dmitry Markov: from 'Draft', published 2018

collectordaily daybook and Guardian article

sixth fence

I cycled to photograph this row of security fences four times yesterday and, between down-pours, twice more today. Looking at the pictures on my eMac at home each time immediately afterwards I was again and again trying to figure out the best way of going about it to get a better result. With these last two I was hoping ten hours of rain would have made the earth embankment behind the fences a darker tone.

Most times the sky has been a typical bare, north european sky in October, almost monotone.

The compulsion to keep going back seemed familiar, it was the same sort of anguish to push on from years ago, disregarding endless doubts just to get something done, whether it was absurd or not.

There is a row of little houses not far off one end of this site and anyone there noticing me must have been increasingly concerned, what with my constant coming and goings.  Feeling observed doesn't help with taking enough time to hold the camera straight for 32 pictures going one way, then 32 …

Jens Olof Lasthein: Home Among Black Hills

website and outerfocus podcast


Generation Access

A lot of these fence panels are tagged with the name and contact details of the company who hire them out. These ones are from GENERATION Scaffolding and Access. I assume they come under 'access', as in stopping people, like me, from having access. The nearby factory site is cleared now and two excavators have been left parked at the gate where I've been doing panoramics for the last year, blocking the view, while presumably blocking anyone cutting their way in and moving on to the site (there's nothing to take).

The forecast was for a cloudy morning but sun this afternoon, so if there was anything to take pictures of I could  do a repeat later in the day and have something that works across that change.

I'd photographed the fence at site A, Oasis Estate, Carholme Road, maybe a hundred times over the years of its demolition and re-development, as a sub-set of photographing there, and at site B, Phoenix Estate, several times out at Hykeham, but only a couple of time…

John Divola: SFV, 71-73

Tim Carpenter: from 'A most serene republic'

website and collectordaily review of his latest book

Phoenix Housing Estate

Oasis Housing Estate

shoe print, rain and mud

reflection, (detail)


The forecast for rain nearly all day was pretty accurate and I set off expecting my third or fourth soaking in as many days, (one or two of which have been super-nice, it's not cold, and it's life). The camera kept going despite the constant soaking it was getting for nearly an hour. Every few shots I'd swab the water off it with my tee-shirt, and try to lean over it to protect it. For a cheap consumer point and shoot that's unexpectedly good. If it had been an expensive camera, even one with weather-sealing, I'd have gone home early if having bothered to go out at all. 
I wanted the earth tones from the saturated soil, the shining rain on the ground was an extra. I was taking sweeps and single frame images with the intention to composite later. The one thing I had strangely not accounted for in the slightest was sinking in to the mud up to my ankles.  In the past on other sites this feeling used to scare me, the dirtiness and also being nearly stuck. 

Lewis Baltz: Candlestick Point

When this first came out I thought it was a bit obvious, both the subject, wasteland, and the New Topographic aesthetic, which seemed to me a bit less effective, almost becoming less careful, compared to the sublime works 'New Industrial Parks' and 'Park City'. But lately I've looked at it again a few times and, for whatever reason, I find it increasingly meaningful. Looking at this flip-thru just now I like the sensation of being there, while he explored and found the things he was interested in looking at. He becomes very much alive again in these photographs, and for that alone I'm very glad.

Lewis Baltz "Candlestick Point" Flip Through from Pier 24 Photography on Vimeo.






burn out in the rain


embankment #1

embankment #2

rainwater and mud on construction site

print on board, previously

21st & 31st August, and 7th & 14th & 21st September 2019

14th & 21st of September 2019




wall, interior


Robert Frank 1924-2019


Reuben Wu: N 0377 (Time Present and time past Are both perhaps present in future III)

Lewis Baltz - Works (with a commentary by Gerhard Steidl)


Jason Larkin: 6 hours 45 minutes waiting, (2015)

flowersgallery and photoworks bookshop and jasonlarkin website


on the ground


gate, verticals

gate, 24.08.19

Mark Steinmetz: Girl at restaurant, Marietta, Georgia

bensmith podcast

ahornmagazine interview

John Divola: As Far as I Could Get, 10 Seconds, 12_15_2010, 3:29 PM to 3:42 PM PST, 34.166301, -166.033714, (2010)


gigapixel image, print: 50 × 119 inches

Brian Griffin: Container 1, (2013)

Brian Griffin website


unobstructed gate view

before breakfast on a saturday morning

after the power of sight is gone

Dan Holdsworth: Megalith, (2000-2002)