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All papers, inks and mount-board materials are of conservation grade.
All papers, inks and mount-board materials are of conservation grade.
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Office worker (?) going home under the
Hungerford Bridge at Waterloo, while I
waited for the Mrs. to turn up for a
concert at the Festival Hall. End of the day,
end of the shift, end of the week. End of
the camera too - I dropped it shortly after
taking this and bent the lens mount.
Fortunately the chip was still readable.
Losing cameras is a bit of a recurring
habit: two Pentaxes left in a café in
Istanbul, a film camera and a Nagra
recorder nicked in Ecuador (and two small stills cameras that were left in the care of my
camera assistant at the airport while I went to the loo: he forget about them and went
to chat up two females), a Uher sound recorder - with a vital recording of a Neapolitan
street band still on it - somehow nicked from the car while we were filming only thirty
yards away on a remote part of the Vesuvius lava field, a medium format Mamiya kit
that was stolen during a break-in one night at our studio in London, and a digital camera
dropped in the mud at Pin Mill in Suffolk that will never work again. Ah well, c'est la vie.
Office worker (?) going home under the Hungerford Bridge at Waterloo, while I waited
for the Mrs. to turn up for a concert at the Festival Hall. End of the day, end of the shift,
end of the week. End of the camera too - I dropped it shortly after taking this and bent
the lens mount. Fortunately the chip was still readable. Losing cameras is a bit of a
recurring habit: two Pentaxes left in a café in Istanbul, a film camera and a Nagra
recorder nicked in Ecuador (and two small stills cameras that were left in the care of my
camera assistant at the airport while I went to the loo: he forget about them and went
to chat up two females), a Uher sound recorder - with a vital recording of a Neapolitan
street band still on it - somehow nicked from the car while we were filming only thirty
yards away on a remote part of the Vesuvius lava field, a medium format Mamiya kit
that was stolen during a break-in one night at our studio in London, and a digital camera
dropped in the mud at Pin Mill in Suffolk that will never work again. Ah well, c'est la vie.
Office worker (?) going home under the
Hungerford Bridge at Waterloo, while I
waited for the Mrs. to turn up for a
concert at the Festival Hall. End of the day,
end of the shift, end of the week. End of
the camera too - I dropped it shortly after
taking this and bent the lens mount.
Fortunately the chip was still readable.
Losing cameras is a bit of a recurring
habit: two Pentaxes left in a café in
Istanbul, a film camera and a Nagra
recorder nicked in Ecuador (and two small stills cameras that were left in the care of my
camera assistant at the airport while I went to the loo: he forget about them and went
to chat up two females), a Uher sound recorder - with a vital recording of a Neapolitan
street band still on it - somehow nicked from the car while we were filming only thirty
yards away on a remote part of the Vesuvius lava field, a medium format Mamiya kit
that was stolen during a break-in one night at our studio in London, and a digital camera
dropped in the mud at Pin Mill in Suffolk that will never work again. Ah well, c'est la vie.

Going home

Office worker (?) going home under the Hungerford Bridge at Waterloo, while I waited for the Mrs. to turn up for a concert at the Festival Hall. End of the day, end of the shift, end of the week.  End of the camera too - I dropped it shortly after taking this and bent the lens mount.  Fortunately the chip was still readable.  Losing cameras is a bit of a recurring habit: two Pentaxes left in a café in Istanbul, a film camera and a Nagra recorder nicked in Ecuador (and two small stills cameras that were left in the care of my camera assistant at the airport while I went to the loo: he forget about them and went to chat up two females), a Uher sound recorder - with a vital recording of a Neapolitan street band still on it - somehow nicked from the car while we were filming only thirty yards away on a remote part of the Vesuvius lava field, a medium format Mamiya kit that was stolen during a break-in one night at our studio in London, and a digital camera dropped in the mud at Pin Mill in Suffolk that will never work again.  Ah well, c'est la vie.
Simple black frame makes for a stylish black & white picture

Simple black frame makes for a stylish black & white picture

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