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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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Fisherman's shed near Walberswick, Suffolk.
This picture was shot in infrared to render
strong detail in the sky and to lighten the
marsh grasses. There's no reason not to
break the rules of composition occasionally,
but a habit I seem to have developed is for
framing subjects in the middle, rather than
on the 'Golden Mean' or by 'thirds'. It
possibly stems from a beautiful
Russian/Georgian film by Shengelaya I saw
years ago about the naïve painter Pirosmani.
With a cast of locals and in a mostly empty
Georgian landscape, what little action there
was took place centre-framed and in a
theatrical, almost formal style. I liked that,
and it has probably subconsciously influenced my photography ever since. I would love to
see the film again, but so few outstanding films from world cinema are screened these days,
like the Czech 'Closely Observed Trains', like Fellini's 'Roma', like films by Bergman, Jancso,
Bresson, Ray, Bunuel, Wajda, Renais, Ozu ... I don't know what happens to these
masterpieces - perhaps prints fade too much, or are lost, or there are preventative
copyright issues, actors' residuals contracts, etc. But Hollywood just seems to go on
forever: another repeat of 'Independence Day', anyone?
Fisherman's shed near Walberswick, Suffolk. This picture was shot in infrared to render
strong detail in the sky and to lighten the marsh grasses. There's no reason not to break
the rules of composition occasionally, but a habit I seem to have developed is for framing
subjects in the middle, rather than on the 'Golden Mean' or by 'thirds'. It possibly stems
from a beautiful Russian/Georgian film by Shengelaya I saw years ago about the naïve
painter Pirosmani. With a cast of locals and in a mostly empty Georgian landscape, what
little action there was took place centre-framed and in a theatrical, almost formal style.
I liked that, and it has probably subconsciously influenced my photography ever since. I
would love to see the film again, but so few outstanding films from world cinema are
screened these days, like the Czech 'Closely Observed Trains', like Fellini's 'Roma', like
films by Bergman, Jancso, Bresson, Ray, Bunuel, Wajda, Renais, Ozu ... I don't know what
happens to these masterpieces - perhaps prints fade too much, or are lost, or there are
preventative copyright issues, actors' residuals contracts, etc. But Hollywood just seems
to go on forever: another repeat of 'Independence Day', anyone?
Fisherman's shed near Walberswick,
Suffolk. This picture was shot in infrared
to render strong detail in the sky and to
lighten the marsh grasses. There's no
reason not to break the rules of
composition occasionally, but a habit I
seem to have developed is for framing
subjects in the middle, rather than on the
'Golden Mean' or by 'thirds'. It possibly
stems from a beautiful Russian/Georgian
film by Shengelaya I saw years ago about
the naïve painter Pirosmani. With a cast
of locals and in a mostly empty Georgian
landscape, what little action there was
took place centre-framed and in a
theatrical, almost formal style. I liked that, and it has probably subconsciously
influenced my photography ever since. I would love to see the film again, but so few
outstanding films from world cinema are screened these days, like the Czech 'Closely
Observed Trains', like Fellini's 'Roma', like films by Bergman, Jancso, Bresson, Ray,
Bunuel, Wajda, Renais, Ozu ... I don't know what happens to these masterpieces -
perhaps prints fade too much, or are lost, or there are preventative copyright issues,
actors' residuals contracts, etc. But Hollywood just seems to go on forever: another
repeat of 'Independence Day', anyone?

Marsh Mellow

Fisherman's shed near Walberswick, Suffolk.  This picture was shot in infrared to render strong detail in the sky and to lighten the marsh grasses.  There's no reason not to break the rules of composition occasionally, but a habit I seem to have developed is for framing subjects in the middle, rather than on the 'Golden Mean' or by 'thirds'. It possibly stems from a beautiful Russian/Georgian film by Shengelaya I saw years ago about the naïve painter Pirosmani.  With a cast of locals and in a mostly empty Georgian landscape, what little action there was took place centre-framed and in a theatrical, almost formal style.  I liked that, and it has probably subconsciously influenced my photography ever since.  I would love to see the film again, but so few outstanding films from world cinema are screened these days, like the Czech 'Closely Observed Trains', like Fellini's 'Roma', like films by Bergman, Jancso, Bresson, Ray, Bunuel, Wajda, Renais, Ozu ...  I don't know what happens to these masterpieces - perhaps prints fade too much, or are lost, or there are preventative copyright issues, actors' residuals contracts, etc.  But Hollywood just seems to go on forever: another repeat of 'Independence Day', anyone?
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Suffolk     Britain     World     B&W     Abstract     Poetic Licence