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Showing posts from November, 2012

Lynne Cohen

“I feel as if the world can’t be like it is. It seems full of finished works of art.” Lynne Cohen

Hellen van Meene

Grace Kim - Love Hotel (Seoul)

Grace Kim - Constellations

website here

Construction site after dark

Everything is pretend

Surgical Strikes and assymetrical failure

The BBC rarely risks the wrath of the Israeli lobby and their new DG will almost certainly be getting a kicking (and on a Sunday, too) for this, a story that expresses unambiguous sympathy for a colleague in Gaza who's baby son was killed.


Chris McCaw: Sunburned


Just lookng at the sky is one of the best things about being alive.

Last weekend I got unwell for a few days but then when feeling healthier again was accompanied by such an unexpected rush of life through the body.  It felt for all the world like Spring had unexpectedly turned up one day, internally, and in late November.  It was so surprising.  And kinda nice.

Today I bought Hans-Christian Schink's book 1hr (a return to compulsive buying of photo books).  They are elemental observations, studiously acknowledging the trajectory of the sun, a dark stain on the cold, ash gray paper. They may have some kind of beauty, meaning.  I'm not sure. I think I may like them.

At a charity shop this afternoon bought a classic knee length pin-striped dark gray skirt and  modern-cut pin-striped light gray jacket.  (A return to compulsive buying of female clothes.) I got them despite realising I knew the guy who was working at the counter and that he knew me.  As it was we talked a while and…

In-between land: former heavy industry site with planning permission for housing

Segregation in school

16 year old transgender pupil and segregation in a Lincolnshire school story

Yang Yong

'Fancy In Tunnel' (2003)


The construction site at the bottom of my road is two years into the build of a fairly big housing estate, on the site of a semi-conductor manufacturing factory.  I usually photograph the work in progress, the point of transformation, with its debris, the heaps of earth and rubble and general organised chaos, but today I went to photograph the completed houses, many of which are already occupied.  Strangely I was just as apprehensive simply walking down those brand new streets as when scaling a fence on the other side where there's no-one around, and after about ten minutes someone appeared from one of the houses, 'what are you doing?', 'what are you taking pictures for?'.  He came up behind me just as I was having a total fail on the auto-focus.

One cubic foot

OBSERVER magazine: biodiversity photographs by David Liittschwager

A selection of the creatures documented from the Temae Reef. The 392 creatures pictured here include species of fish, crabs, worms, shrimp, algae, snails, and other marine invertebrates. Location: Temae Reef, Moorea, French Polynesia

Antoine D'Agata

Nevada, 1952

From Petapixel:

This might look like some kind of microscopic organism, but it’s actually a high-speed photograph of a nuclear explosion. It was captured less than 1 millisecond after the detonation using a rapatronic camera, which is capable of exposure times as brief as 10 nanoseconds (one nanosecond is one billionth of a second). The photograph was shot from roughly 7 miles away during the Tumbler-Snapper tests in Nevada (1952). The fireball is roughly 20 meters in diameter, and three times hotter than the surface of the sun.

Tipper truck, (1.00 AM)

New houses

Timetables of the unconscious mind

Everything is on the internet.  Yesterday I looked up timetables for the Moon, and perhaps not coincidentally, they look similar to tidal charts.  From them I could see what time it would appear on the horizon and what time it would dip back below it - and work out when would be be OK to go and take photos (9pm - 2am).

Just after scheduled Moonrise I went outside and looked around (all 360 degrees, having no idea where it would appear) and found it waiting, on time.

Every hour or so I'd go back out and check it's trajectory in the sky, then went and sneaked in to the local construction site, knowing my light source was sorted. I even remembered to bring a piece of string so I could lower my tripod down to the ground on the other side from the top of the 8' high fence before jumping down after it.

The Moon suddenly seems vital for several reasons.  It is good for light to make photographs by but is importantly a powerful symbol from female art, which also suggests the role …