
Random Smokestacks



Tried to make this Rockefeller Center building the canvas for a tree portrait.


I’ve been collecting images of NY’s ubiquitous Post No Bills stencils for over 20 years. This visit is no different. Here are 3 more examples.





This is the last installment (for now) of images inspired by Jim Roche’s Substack on John Gossage’s The Pond.
On the side street there’s a gate leading into the abandoned and overgrown garden. Once I went in and took a picture or two. On this occasion I discovered it had been secured with a thin twist of metal ribbon. I considered removing it temporarily, but decided to honour someone’s property rights and instead photographed at various angles and over the wall.




I continue to explore the house at the corner, following on from the last two days’ posts. After passing the side, I had a brief view over an ivied wall, of the back of the building, giving on to the garden.
One thing I did before shooting was switch the camera to shoot in Fujifilm ACROS, a rich black and white film stock – I was trying to get a full range of tones (of course, I was shooting raw, so all the colour information was captured but it was helpful to visualise it in B&W right through the viewfinder.
to be continued…

Continuing from yesterday’s post about photographing close to home à la John Gossage, as described in Jim Roche’s post on The Pond, I walked around the corner from the front of the house, shown in yesterday’s post, to this view from the corner. The property is massively overgrown, reminding me of how the Pevensie children first returned to Narnia, only to find that time moved so much more quickly there that familiar places were scarcely recognisable.
Peering through the dense foliage, one can still catch a glimpse of the building.

to be continued…

With, apparently, 8-10 people pedalling, we were walking at least as fast as the Beer Bike Tour!

We took the train into Victoria, then made the mistake of walking to the National Gallery past Buckingham Palace just as the changing of the guard was set to begin. We were penned in and were allowed to go neither forward nor backward for about 20 minutes, stuck in a crowd of tourists with volunteers warning of pickpockets. But, of course, nothing can be said to have happened unless it’s been captured on a phone.


…possible addition to the Looking Down project…?


I went to Photo London this year at the new location at Olympia. And I happened upon Joel Meyerowitz showing his work.


I created panorama of the photobook area with 4 or 5 images and captured the woman in the black jacket on the right in 2 frames, breaking photography’s claim to capture a moment in time.

It wasn’t just paints and brushes. Some artists pile their paints and brushes somewhat haphazardly, others keep their work tools in serried ranks.




An amusing gloss on the artists’ own height chart in the next doorway at Studio 28a on our Hove Artists Open Houses tour last month.

One of the pleasures of touring Brighton’s Artists Open Houses each May is seeing the artists’ tools, paints, and brushes and other craft paraphernalia. At Lara Bowen’s studio we saw a set of colour swatches she created in the depths of lockdown, capturing (and labeling) the emotions of those times.


Another stop on our tour of Hove Artist Open Houses was the Paul Houlton Studio – he was displaying a lifetime’s worth of work in a variety of styles, capturing much of the 20th century in Western art. Some remarkable work.

To reach Eunju Lee, a South Korean female luthier (last post), we walked through Inkspot Press and saw the screen, relief, letterpress and etching presses, and other paraphernalia.
