What’s new
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Photo Book Making Resources
Here you’ll find a list of the some of the resources I have been grateful to find and make use of while learning to make my own books.
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Backstories
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Time’s Arrow, 2016
There was something about the line of gravestones not just leading to the door but also taking you back in time as you walk along beside them.
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Lower Gilmore Bank, Edinburgh, 2019
It’s the sort of picture I’ve always longed to be able to make – technically and compositionally appealing.
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Late bar, Venice, 2008
By daylight the scene is nothing to write home about. But at night, nearly midnight, all those extraneous elements and colours just disappeared, and the atmosphere of the Venetian night took over.
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Safe Homecomings, 2016
Thoughts of home after the uncertainty of carefully picking your way up river past sandbars and shoals.
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The Fin, 2011
Way back in 2011, I was fascinated by the buildings in Manchester – mainly the Victorian and Edwardian commercial architecture. There was lots to go at, and much that was in an attractive state of dilapidation. But there’s lots of modern buildings too and I regret not photographing more while I was there.
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Piemme, Bologna, 2006
I remember feeling quite overwhelmed by the blue and didn’t really notice anything else for a while. I knew I had to take this photograph.
On Seeing
The latest in a collection of writings about seeing in photography
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Level horizons and constructive criticism
Level horizons are really just the tip of a critical iceberg. Here’s why you should consider going straight.
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Why monochrome?
Working in monochrome means you can’t rely on colour contrasts to separate elements in your photographs. You have to use the light and capture differences in luminance to produce an image with impact.
On Motivation
The latest in a collection of writings about motivation in photography
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Ian Roper and North Crag Eliminate
How a photograph both frightened and excited me when I first saw it. Can photographs really have that sort of an impact?
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How a small edit changes a snapshot to fine art
How can one photo work as both a snapshot and as fine art with just one small edit?
On Landscapes
The latest in a collection of writings about photographing landscapes
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Backstory | Books | Motivation
The Heron Wood, 2020 an intuitive project
Is your photography thought-through or more intuitive? Do your pictures depend on your experience or do you just go exploring?
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Contract or assumption: what do I owe the viewer?
Is it realistic to expect a photographer to concern himself with his viewers expectation about the nature of photography?
