The White Tree

I've been processing with some full-bodied tonality of late, so today it's something of a change. When this tree caught my eye it was bathed in some gentle light. I have tried to reproduced this idea of gentle luminosity, with the whites of the trunks leading a light palette. I was aiming for a silvery, airy piece.

I hope you enjoy it.

New print for sale - limited 50% discount

Last week I shared my Young Corn piece, shot on Ilford's HP5+ film. I have now added this as a print in my shop (please click on the 'prints' link above).

Two sizes are available, one on A4 paper and one on A3. Both have a border to allow for mounting (matting) and framing (the image of the actual print above helps to show this). I have chosen Canson's beautiful Baryta Photographique paper, an inkjet paper that gives the feel of a traditional fibre based print. I especially enjoy the rich and deep blacks that this paper has to offer, which I think suits the image, and it also produces an excellent tonal range. I wanted to reproduce the tonal rapport that HP5+ gives with this kind of subject and light. As is my customary practice, they will be signed in pencil on the rear and will come with a certificate of authenticity

In order to celebrate the launch of the print sale, I am offering my readers an impressive 50% discount for a limited time. Simply use the code CORN50 at the checkout (it will work on either size). Depending on the demand, I may close the offer relatively quickly so please don't delay if you are tempted. Shipping is free in the UK and there is a modest charge for the rest of the world. You are responsible for any taxes that your country imposes.

Please don't hesitate to get in touch if you have any questions about the print and / or offer.

Young corn in HP5+

Ilford HP5+ developed in LC29 1+19 6.5 mins 20c

Frank's

Something of a rare foray into colour for me these days.

Some images you make because you simply see them, or moreover they have a way of finding you. Others, like this one here, you see time after time (the scene is on my daily journey home) and resolve to make.

I therefore had a very clear idea of the image I wanted, right down to standing position, focal length, and time of day. I knew I wanted the window of the Barber's to be illuminated, so a darker exterior was needed, but I also wanted enough light outside to show framing elements. I chose dusk as the obvious time of day to shoot, supported by some modest Lightroom adjustments. In the event, I was a little early and waited for about ten minutes until the light faded further.

I enjoy the idea of a modest document of a person and his business, and like the further clues of the man's life, such as his bicycle outside. Even with such a modest image, photography has an immense power to document, to provide tiny significant details.

Barber Barber, Birmingham

Sometimes a street photography scene comes to you. That was certainly the case here, as I walked past Barber Barber for the first time. This impressive establishment is located in the new Grand Central complex in Birmingham, and is positively baroque in visual features, not least the colourful atire of the staff (or 'scoundrels', as I believe they are called). The whole thing is patently designed to be looked at, with wall to floor glass to the front.

I double-backed, spent a moment or two framing, and waited for the figures to fill the spaces in a pleasing and dynamic way. I knew the lighting and visual interest would work well in black and white. A case of right film, right camera, right place.

Passageway, Menorca

A by-product of writing a blog is that it inevitably records the author's developing tastes and predilections. I seem to be very much in a black and white mindset at the moment, to the point, even, of giving a monochrome treatment to shots I originally saw in colour - like this one here.

There is a very old tradition in picture making of a landscape in which the viewer's eye is led towards a source of light. This has a pictorial effectiveness, the eye undertaking a 'journey' and finding satisfaction in so doing, and it also has an obvious metaphorical resonance. 'Out of the darkness, and into the light.' I write 'picture making', because it abounds in historical painting, and therefore long precedes photography.

I am close to this shot, having just processed it, and so am not yet decided as to how much I like it. It is significant because of its relationship with the above tradition, but as usual with these things, it is also something of a photographer's set piece, just as are windows, doors and so on. My main reason for including it is that I know I am happy with its tones.

I trimmed the image a little, before darkening the edges and tweaking the highlight tones. I worked towards a tonally full piece, one having a range of tones from black to near white. This image presents one of those very balanced and full-looking histograms that fills the graph as a neat and symmetrical, centred hill. I haven't yet printed it, but imagine that it will print very well and has plenty to occupy the eye, in textural detail as well as fulsome tone.