Long Overdue

I named this post “Long Overdue” because that is exactly what it is! Everyone talks about how you should blog every week but for me I don’t find that practical, especially right now as I have only been photographing on film or have long winding projects, nothing I can post instantly or quickly. I have finally made the trip to the developers and had some very annoying outcomes as a couple of the films I shot turned out as double exposures. Normally I’m not opposed to double exposures when done on purpose or if the photographs it happens to I wasn’t planing anything with, but these were a series of informal portraits of people I rarely see that I was planing to turn into a long term project and are now just not what I wanted at all, even though the outcome is actually rather interesting on some of them.

Another film I had developed after using it for the first time was a B&W 3200 Ilford which I shot half and half in London and Paris, mostly at night. It made my trip to the developers a bit more happy as I like the results of this film and decided to then make a stop at Silverprint to buy some more of this film. I really like the amount of grain and the freedom to shoot in low light with this high an ISO. I can’t wait to try and print some of the negatives in the darkroom rather than just the scans, although that may be a while as I don’t have easy access to a darkroom right now.



Cyanotype is an old photographic process, one of the first, which I know about because of Anna Atkins, a pioneer botanist who saw this process as a perfect way to record plant species and differences, which she published in her book “British Algae: Cyanotype Impressions“.

I think her images are beautiful and I appreciate the time and care she clearly dedicated to her work. I have taken a much more artistic experimental stance, trying digital negatives along with 35mm negatives, jewellery and leaves to create this collection of images on different paper and even one on linen. these are basically a test for a large project I am still hashing out a plan for.


Cross Processing…

This was some of the photographs I got from a colour film I shot at a friends house a couple of weeks ago… No, i didn’t make a huge mistake, they are blue for a reason and on purpose! Although this process probably did stem from a mistake or maybe just a need to process film quickly; it is basically developing a film in chemicals not intended for it; in this case a colour film with a black and white process. Using different type of film and chemicals can give you varied colour hues. these were shot on an Agfa 200 and developed at home.

‘Hidden Rivers’ national diploma in photography end of year show

You can view our online catalogue to get a preview of the photographers and some of their work here: Hidden Rivers Catalogue

We hope to see you soon! here are the dates:

Private View

Thursday 17th July – 6.30pm – 9.00pm

Show Open

Friday 18th July – Thursday 24th July

Opening Times

10.00am – 4.00pm (Monday to Friday)


Kensington & Chelsea College, Chelsea Centre, Hortensia Road, London SW10 OQS


Visual Diary

Take at least one photo a week. Sounds easy, I call myself a photographer after all! But let me tell you, I think too much… as soon as I am presented with something like this I over think it and then forget to do it or panic too much to do it. Doesn’t it have to have a theme? Can I have more than one genre? Should I mix formats? Will it look strange in colour with a few black and white? These are just a few things that run through my head simultaneously. Quite often the only thing I can focus on is presentation. I am a very visual person and made a book with these photographs that is ongoing, may upload some more photos from it soon!



Lost Laundry

Lost Laundry is a great little designer fashion boutique, selling both men and women’s past season clothing. Situated on Cheshire Street, just off  Brick Lane, it is a great place to pop into as it is so close to central London if you are out and about shopping.

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William Eggleston: “Dog In The Middle Of The Road” Review

The New Yorker, November 17, 2008
“You can always tell a William Eggleston photograph. It’s the one in color that hits you in the face and leaves you confused and happy, and perhaps convinces you that you don’t understand photography nearly as well as you thought you did.”
Although I feel this quote is true of Eggleston‘s work, this image I am going to talk about is almost monochrome in tone and a much more lonely image; it is less about the colour and, in my looking at this image, more about a narrative:

Dog in the Middle of the Road

I have chosen this image to talk about because at first glance it looks fractured making me want to look again. Realising that it is a wing mirror in the foreground I felt a connection to my work, as I often use the wing mirror to photograph when I am a passenger in a car.

Dog in the Middle of the Road reminds me of a Hitchcock film. Although you have a scene set in front of you, the wing mirror shows a rear view. the reflection gives extra layers to the photograph for example, being able to show the past behind and in front the future, the road also stretching out into the horizon, adding extra dimensions.

The bush visible in the wing mirror is at an angle and could also be concealing something, all of this builds tension, mystery, the question why?
In the front view you have a couple of cars in the distance, a man on a motor cycle and a dog, in one car a persons arm is  visible resting out of the window, all these elements together make a ziz- zag, starting in the right hand corner leading down to the rear view mirror. This creates a line of view which you can follow easily, which include all the main points of focus.

The dog is lying in the middle of the frame and in the middle of the road and looks like he’s about to move off, the man on the motorcycle appears ready to put his helmet on; this continues to build tension as we are expecting something to happen, even if the moment has passed many years ago, it is still frozen in the moment before.

In this image the man on the motor cycle is looking at the dog, the dog is looking at the photographer and the photographer is looking at both, so although there is a relationship between these elements there is something alienated and lonely about how spread out each subject is, thus making them all observers but not participants, this almost triangle of gaze is like a contemplation, each person seems lost in their own moment.

There is also contrast between the beautiful lush trees, something you might associate with an affluent area and the pot-holed road surface, making it look out of place even though the road is the main background for the scene at hand.

Eggleston is famous for his very colourful photographs that look almost like snapshots, knowing that they are actually very carefully thought out, this image to me is stunning; and you can clearly see the strong narrative in this more muted colour image.



Miyako Ishiuchi: Yokosuka Story Review

Miyako Ishiuchi confronts the trauma present in post war Japan, the drawing of the new era by using cameras as eloquent tools to express, record and explore what it meant to be Japanese at its pivotal moment in history.” – .

The photograph I have chosen to talk about is a traditional documentary image, part of a body of work inspired by the artist’s early childhood in Japan after WW2 and Hiroshima.

    Photograph taken at the Tate Modern of "Yokosuka story" By Miyako Ishiuchi

Photograph taken at the Tate Modern of “Yokosuka story” By Miyako Ishiuchi

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