Approaching Silence

In my post from a few days ago, I suggested that as part of the 'searching' we do as photographers, we tend to make many interpretations of the same subject.

I love to do this even with subjects that, on the surface,  seem to offer very little opportunity to do anything more, other than the obvious.

What may appear to need only one shot to covey a message, seems to spur me on to go looking for something more.

Take the images here of Laguna Colorada in Bolivia. One could be forgiven for thinking that there is possibly only really one image to be made here. There is no background or foreground subject matter and there are no interesting rocks to place in the foreground. So why would I shoot more than one 'interpretation' of it?

I believe the answer has to do with how we react to each image emotionally. The subject matter may be similar, but through variances in tonality and form, the emotional message is different.

I didn't need to change the composition too dramatically between both images. All I had to do, was watch and listen to the changes inside of me, as the light altered the landscape before me.

I could argue that having less material in front of my lens to shoot, made this a much simpler task to do. The less visual stimulation we have to process, the easier it is for us to notice changes, especially if they are small ones.

I was torn as to which image to choose as a candidate for the final portfolio. I decided to select both. Although to some, it may seem as though I have already told the story once, and need not do it again, the truth is that for me, both these images speak to me in different ways.

I believe that when we are making images of the landscape, our emotions tend to mirror the variances in light, shade and tone that we encounter. We are emotional beings and we are responding to our environment all the time. Light and colour are sounding boards, used to reflect back to us what we are feeling.

Some people talk about images being quiet, tranquil. Others will describe images as tense or relaxed. When we do this, we are essentially describing ourselves, how we feel as we respond to the work we are viewing. The photograph is not calm, you are. The photograph is not tense, you are. Good photographers know this deep down and they understand how colour and tone can be used to affect our moods and our feelings, just like a musician knows he can affect our moods by playing a minor or major chord.

For me, I felt I was trying to convey a sense of 'approaching silence'. Each iteration that I made whilst at the edge of this lake felt like an attempt to get closer to this notion. Ultimately, I was attempting to capture a mood, a feeling. Unwittingly, I was attempting to capture my very own thoughts.

Searching Laguna Blanca

As a landscape photographer, I believe that part of my nature is that of 'restless searcher'.

I know many people who have turned to photography, as a response to the routine in their lives. I will often hear clients tell me that they feel more alive, and in touch with nature through photography.

I think this is because routine tends to dull our senses. We stop noticing things because anything that does not change in our environment does not tend to stand out after a while. Routine seems to contain a lot of  background noise - information that we do not need to process again and again, because we already know it.

Consider the commute to work, where you felt you were on auto-pilot. All you know if you got to your desk on time, but you can't specifically remember details of the journey any more, because, just like how you know which key to type on your keyboard, everything has become second nature. You have stopped looking.

I think that most people thrive on new stimulation. For example, one way to become stimulated is to go on holiday. Being in a new environment, with different sights and sounds can seem to awaken part of us that has been lying dormant while we go about the routines in our everyday lives. This awakening is something I think most of us find attractive about photography, because the very act of making a picture forces us to engage in our surroundings in a way that we normally wouldn't. I think this is why I often hear participants on my workshops tell me it takes them a day or two to get their 'vision' working - they're out of practice, because the routine of their lives does not require such intense processing of their visual surroundings anymore.

In this way, making images with a camera isn't really about making images at all. I think it's more a vehicle  that encourages us to engage with our environment. Give someone a camera and they will go looking. Or more specifically, they will go searching. A camera is a baton, a symbol that says 'now I must open I eyes and go see, look, find, enquire, engage'.

I had a client a year or so ago, who expressed his view that we should try to avoid routine in our lives - even in the smallest of ways. He would for instance, take different routes home in his car each day from work, so that he was able to think more. Or if he was walking, he would deliberately leave his office and make up his journey home. He wouldn't look at a map or plan his trip. He would simply go, and see what he would come across as he made his way from one side of Philadelphia to the other. During the workshop, he was keen to encourage the group to choose different seats each day. As much as this seems perhaps a bit eccentric, I can fully appreciate what he was doing. He was trying to reduce the level of routine in his life because it allowed him to engage more.

I've been looking at these three images the past few weeks since I worked on them. Essentially the same location, same volcano in the background - Licancabur - just on the border between Chile and Bolivia. I could have shot this scene once and decided that there was little point in making another image of it . But as you know, we don't tend to do that as photographers. We will often shoot the same subject again and again. Sometimes it's because we don't think we quite 'got it', and other times, it's because we're still noticing things about the landscape and recomposing to take into account the new information we have at hand.

In my own case, these three images came about because of two things: firstly, my awareness of the colour temperature, and secondly, my awareness of foreground subject matter.

With regards to colour temperature, I had started my shoot at this location in twilight (the blue hour) and as the morning progressed I watched the hues change the landscape dramatically from blue to golden yellow / orange towards daylight temperature. There is this inquisitiveness we have as photographers to go study the changes in the light. To take pleasure in noticing the small changes in our environment. We have the luxury to stop and watch, to notice and to enjoy.

My second point, about being aware of foreground subject matter meant that I kept searching for a better composition. I like to think of this as re-interpreting the landscape.

I believe that doing landscape photography is about having a conversation with our surroundings. When we alter composition, we are effectively asking a new question. How we feel about this new composition is our answer. Making landscape images is a dialog between ourselves and how we feel about our environment. As I said earlier on in this post, I feel that photography is really a vehicle, one that allows us to enquire, to engage and go ask questions. We are ultimately searchers.

Colour as a Unifying Theme

Over the years, as my own photographic 'style' has been changing, I've had the good fortune to be in a position where I spend a lot of time 'noticing' the changes. This is perhaps one of the benefits of being a photographic workshop leader. In order to convey a message, and illustrate things, I've had to look at my own work and get to know myself a bit better as a result.

I wrote a nice little e-book about 'self-awareness' a while back, because I think that in order to grow as an artist, we need to become more aware of how we react to our environment. we need to get to know our moods and responses, as this will allow us to understand ourselves better.

One aspect of making good photographs, that I think is seldom discussed, is that of using colour as a theme. We are often very absorbed by the idea of composition in terms of form only, that I believe we spend very little time considering how colour may affect our style. Or more importantly, how colour can be utilised as a theme to bring a body of work together - and make it stronger than the sum of its parts.

I've noticed in my own work, over the past couple of years, that the colour palette of a location figures largely in influencing what I choose to shoot. I think this all began in 2011 when I first visited the black volcanic beaches of Iceland. In venturing here, I discovered that I could shoot monochromatic scenes with colour film, but also, that the final work had more unity because the colours and tones present in the work were similar.

Certainly, being presented with the reduced monochromatic colour palette of black sand and white ice, should have spelled out for me the direction where the work might go. But I'm not so convinced that most of us observe colour in this way, during the making of images on location (back to my point about developing a sense of self-awareness).

My impressions of the trip just after getting home, was that it had been a complete failure. My head had been so full of the cold that I came home thinking I'd gotten nothing out of the trip. The epiphany happened once I got my films back from the lab. It was only upon viewing the processed transparencies that I saw unity in the reduced colour palette. I saw a way forward and I consciously decided to run with it.

I think there's an opportunity in every place we go to make photographs, to notice colour as a potential theme to the work. This is also true whilst editing the work afterwards. it should be possible to notice that perhaps a handful of the images go together more strongly than others - all because they have a similar colour 'feel' to them.

Utilising colour in this way, is now pretty much at the heart of my photography.

I tend to hone right in on those particular images that have a strong colour aesthetic. I will look through the entire shoot to see if I have others that fall in-line with this mood, or usually, it comes about naturally as I build up a body of work. Some of the images relate to each other more, because there is a strong colour relationship between them.

I will even, after collecting many completed images, distill them down to those that have a strong colour relationship, because it has become a 'signature' - a unifying theme to the whole portfolio.

I don't expect others to be as literal with colour as I am. But I do feel that being more aware of colour relationships as a unifying theme that goes right through a body of work is beneficial.

Composition of an image does not just end at where we place objects within the frame, object placement is only really one dimension. Colour adds an additional dimension.

Just like black and white photographers will often tone a collection of images so that they have a similar feel, colour photographers should consider utilising the same approach in their work. If it brings forward a direction in which one wishes to explore further, then that's a good thing.

September's here again....

Possibly my most favourite month. I'm not sure why. Perhaps it's because of the equinox. I can feel the nights getting shorter already as summer turns into winter. It's a special time.

I think that being aware of the seasons as they change, is really fundamental to being a landscape photographer.

Music is by David Sylvian.

https://www.youtube.com/watch?v=op4UHbillk4&width=400

Desert Siloli, Bolivia

The desert Siloli, is a fascinating landscape situated at an elevation of around 4,500 metres on the Bolivian altiplano. I've been to this place a few times now, but I've never seen it quite like this before. As part of my Bolivian photographic tour that I conducted here in June of this year, we were supposed to go to see the stone tree - el arbol de piedra. It is situated in the heart of the Siloli desert. A place that I had ear-marked for some more image making for (hopefully) a forth-coming book.

But the weather this summer was very unusual. June is the time of the dry season, and so there shouldn't be any snowfall at this period in the year. Only it snowed a lot, and I hear it is still snowing - right down the lower elevations of San Pedro de Atacama - apparently the first time it has snowed at this low elevation in 17 years.

I always find it very interesting to note how I build up an anticipation of what I will be shooting - a form of pre-visualisation if you like. It's not something I welcome, as I feel the sense of expectation can get in the way of taking on board what is actually presented to me. In the case of the Siloli desert, I had not anticipated snow there. Nor had I imagined that I would only be allowed 1 hour here due to the weather deteriorating. It would perhaps not surprise you to learn that we spent a cold evening in a hotel with no running water and a snow blizzard outside the door. We were concerned that we may not make it out the next day, despite having two land cruisers at our disposal (we did make it out the next day, although it took a bit longer than we'd imagined).

It was interesting to note the mood of the participants on the trip. Some took the downturn in the weather conditions well, while I could feel morale slip a bit for others. One participant in particular said 'it's part of the deal, part of the adventure'. Something I was very happy to hear. It is the right attitude one should have as a photographer.

Photography should be surprising. We're not in it for an easy ride, and part of the reason we make photographs, is to put us out there in the world so we can engage, and experience life in a way that we wouldn't if we hadn't taken up photography in the first place.

So I thought I would share this image with you. The sky by the way was really like this. We commented at the time that it had an HDR look (of the badly processed variety) about it. I thought it looked surreal.

Silver grey tones abounded the landscape as I ran from one spot to another with my Hasselblad film camera. This is perhaps one of the more memorable shots I made. Being a film shooter, I tend to remember some shots more than others - if it's got something about it - I tend to remember it. I like this fact about film photography - it taught me how to listen to my own feelings and tune in more to my responses to the landscape and use it to gauge the worthiness of what I am shooting.

My new images from the Chilean Atacama, and the Bolivian altiplano are up in my new section of this web site.

Hardbound & Electronic Bound

I'm a big proponent of the hardback book. So much so, that I've released two hard back's in the past three years: 'The art of adventure, 40 Photographic Examples', and also 'Iceland, a journal of nocturnes'. Both were printed to a very high standard, and are roughly about Album size. But I've been thinking for a while now, that we live in a multi-format society. We tend to like to access what we own, when we want to. We like the convenience of having our books and music available to us wherever we are.

So what I've decided to do, is offer both my hardback books with a bundled PDF version. I figure that most folks who want to buy the book, would also like to be able to carry around with them an electronic version of it on their iPad or similar device. I still believe that the books should be bought as hardbacks, so I'm afraid that the PDF versions will not be available for sale separately. If this is bad news for you - then maybe you can look at it as buying an e-book and getting a hard-back version of it as a bonus ;-)

So I'm very pleased to announce that both my books now come with a PDF version along side it as part of the purchase. I'm also additionally pleased to let you know that if you already purchased a copy of one of these books from my site already, we have just sent an email to you with a link to download the PDF version for free.

You can purchase the books here.

Working on some new images

  Just a short post today. I'm entrenched in my home studio, busy working on a massive backlog of images from the Bolivian altiplano and the Chilean Atacama desert.

I thought it would be fun to share with you an image of my beautiful Gepe light-table. I love working with transparencies, and laying them out in a collection like this.

I can 'see' the portfolio coming together a little more clearly when I do this. I'll sometimes pick out the best images from my sheets of Velvia 50 to scan, before I go back and have a bit more of a detailed review of what else is there. It really depends on how i'm feeling. Other times, I'll work systematically through each sheet of film one at a time, until I've garnered all the good stuff. On average, there tends to be around 2 images a sheet (10 shots) that I like, and want to scan.

I  love how transparencies have the colours already 'programmed' into them. Velvia is a highly saturated film, so I tend to work the opposite way to most Raw shooters - rather than adding in the colour, I tend to scan and then decide which colours (if any) require desaturating.

If you click on the image above, you'll see a higher resolution one.

For those of you who have never shot film, or transparencies, you're missing out on one of the most satisfying parts of creating images: that of laying out your transparencies on a light table. There's something about the tactile aspect that I think lends some kind of emotional investment to the work.

As for viewing the images on the light-table, the colours just glow - this alone can provide ample inspiration for the editing stage, and I'll often find myself feeling very excited as a result.

From left to right: Salar de Uyuni, Sol de mañana geyser basin, Pescado Island, Sol de mañana geyser basin, Flamingos at Laguna Colorada, Atacama Chile, Little Italy stone desert Bolivia.

Micro Four Thirds

I've been thinking about writing a post about my little Lumix Micro Four Thirds acquisition for some time, and I'm just back from the Isle of Arran where I used the camera as a teaching aid while running my workshop.

I should start off by declaring that I am no digital shooter. I have been shooting film 100% for the past 20 odd years and I don't intend to alter this in the foreseeable future. The argument is a tired one and I wish not to go there. However, I did see value in having a digital system for use on my workshops, because having one would allow me to illustrate compositional techniques and also show others what I'm seeing in the landscape.

I had a bit of a hard time choosing a digital system. I didn't want to break the bank and get something 'pro', and yet, me being me, I knew any digital system I bought would have to be good enough to do landscape images with. So many of the 'Compact' cameras were not in the running for me. And those that had good quality sensors, didn't feel like they had the lens selection that I would like to invest in.

The Micro Four Thirds format seemed to fit the bill for a few reasons. Firstly, the cost of a basic kit system with the equivalent of a 28-90 zoom lens is very inexpensive. Secondly the sensor size isn't that far away from APS quality. And to make the decision for me, the very small size of the outfit was ideal - I didn't want to lug around a second full-sized system if I am already carrying a medium format film system.

I initially bought the Lumix GF1 a few years ago, but I never really considered that it could potentially be a serious contender for digital landscape photography. It's only since I bought the Lee Seven5 filter system for my new GX1, that I've come to consider that this format is something I would choose, if I were a digital shooter. I think the selection of lenses, image quality, compactness of the format makes for a terrific way forward.

So I thought that I would post some images made from my workshop this week. They were all composed hand-held, with the Lee Seven5 series of hard-grads. There are a few things I would like to point out about the combination Lee filters and also the practicalities of using such a small format. Here they are:

1) I find in general, that the Seven5 hard-grads are too hard. I've always considered that hard-grads are more important than soft-grads, and this is because they become diffused when used with any focal length above 24mm. As you go up the focal lengths towards telephoto, the hard-grads become soft until they become non-effective. If you consider that you are 'zooming into the graduation' as you go up the focal lengths, and that the filter is before the focal plane, then it's not hard to see that hard-grads are in fact 'soft' when used on 35mm systems and upwards. For my medium format system where my wide angle lens is a 50mm, my hard-grad is very soft. I use a rangefinder system so although I can't see through the lens, filter placement has never been a major concern for me, because at focal lengths of 50mm and above, the grad is pretty soft any way. The only time I would notice the grad is when I'm using one that is too strong for the subject matter.

Let's consider what happens when we go down the focal-lengths. We are essentially 'zooming out' away from the grad, and so hard-grads become more obvious. With the Micro Four Thirds format, you are dealing with small focal lengths. A lens that gives you the same field of view as a 35mm camera is half the focal length. For instance, a 24mm lens on a 35mm system is replaced by a 12mm lens in the Micro Four Thirds format. Of course, you could argue that the small diameters of the Micro Four Thirds lenses should alleviate this, but in my experience - they don't.

In summary, I would say that the Lee Seven5 set of hard-grads are very useful on a Micro-Four-Thirds system, but sometimes you might want to use the soft grads a bit more than you normally would due to the lower focal lengths. So buy both the soft, as well as the hard grads for this system.

2) Focussing the micro-four thirds system to take advantage of the hyper-focal for Depth of Field is a pain. The lenses I have really don't like to be stopped down more than 5.6, maybe f8 at times, but even then I saw degradation in the image quality. f5.6 at 12mm is still a lot of depth of field, but I did find I often missed the mark when setting the hyper-focal. I found using the electronic viewfinder a must. It is a focussing aid that you should buy for this camera if you intend to try to keep the lenses from being stopped down more than required.

These two points aside, I would dearly love to know why there is no high-performance sensor - one that is equivalent to something like a D800 in the camera bodies of the Micro Four Thirds format. At low ISO, the sensors in these cameras are perfectly fine, but they get very noisy from ISO 800 upwards. It's not something I miss, as I'm used to working with 50 ISO with my Fuji Velvia film, but I can appreciate that for most digital shooters, having good image quality at high ISO's is something they take for granted these days. I would like to know why this kind of technology has not been put into the MFT format as yet - is it to do with size, price, or even energy requirements? Or is it because the manufacturers think this is a 'toy format'?

For me, I don't think MFT is a toy format. I think it may well be the future. I've enjoyed shooting the Lumix, and composing using the electronic view finder. I'm really pleased I bought it for use on my workshops. It's a great little system, and one that I would adopt full time, if I wasn't the avid film shooter than I am.

A Walk through Nature

As many of you know, photographic books are perhaps some of the most treasured objects I own. I really love them for many reasons, and I've always wondered why not all lovers of photography own them. They not only give us a better experience of someones work compared to viewing it on a website, but also, they allow for a more intimate setting where we can lose ourselves for half an hour or more as the photographer takes us on a journey through their own world.

One such book that I've had the delight of getting to know for this very reason, is Dav Thomas' 'With Trees'.

I've just spent the past few days returning again and again to this book, because it has a wonderful way of letting my mind reconnect with what it's like to be outside, roaming through woods and remote landscapes. It is a beautiful journey where I seem to lose myself each time I pick it up and roam through its pages.

Thomas celebrates the nature of trees as they are. He does not seek to simplify or create an illusion of what is there, but instead works very much with what the trees themselves have to offer. And what they offer is a recognition that even in the middle of one of the smallest and most densely populated countries in Europe, there is always a forest not too far away, where one can gain some space and remove themselves from the existence of every day life.

Thomas mainly focusses on the forests of the Peak and Lake district, but there are occasional entries to places such as Elgin in northern Scotland. What is interesting for me to note however, is that there is a sense of uniformity to the landscapes he has photographed. He reminds me that one doesn't have to go far to find their muse, and I suspect that these locations have not been picked purely because they are within reach of where Thomas lives, but because he has had a life long relationship with the environment he has chosen to photograph.

His book is not simply a celebration of trees, but an empathetic understanding of the undergrowth, grasses and mosses that in his own words are a 'supporting cast for the trees they surround'. I loved this sentiment particularly, because in it, Thomas is telling me he understands that each element in a scene has a relationship to one another not just photographically, but also in nature.

Although the book is a monograph, it is interspersed with Thomas' observations of how trees exist and relate to their surrounding environment. I loved the text, because for me, it echoed pretty much what I saw and felt in his work: a deep fascination for the relationship between tree, undergrowth and moss. Thomas seemed to me very much like someone who has spent time around his subjects getting to know them in all their seasons and different atmospheric environments.

In one such observation by Thomas, he notes that Oak and Limestone are often hard to separate, because they blend in a way where mosses covering the limestone take on an extended quality to the surrounding trees, and he uses this well in his compositions. He is comfortable to show you that both these compositional elements are intertwined, and can be interpreted as one, rather than discreet elements which have to stand apart. That I feel, is a difficult thing to execute well, because forests are difficult subjects at best to produce strong photographs from. And Thomas seems extremely comfortable with this task.

On a more personal note, at times I felt that I was enjoying images that would compliment the work of naturalist Eliot Porter. Whereas some photographers seek drama and mood in their work, others are more content to convey nature the way it is, and celebrate it's beauty for 'just being'. This is what I see in this book, and I think that's why I feel it should proudly sit next to my collection of Eliot Porter books: a high commendation indeed.

On the subject of the quality of the printing and presentation, the book is a beautiful hardbound A3 sized monograph, with a lovely introduction by David Ward. I had the great delight in noticing that even the cardboard box it comes in, is beautifully presented with the same themes as contained on the front cover of the book. It is one piece of cardboard I will not be throwing out, because for me - it is part of the book where packing and content are one concept. I'm a big believer in the collectibility of books, so if you do decide to buy this book, then hold onto the carton as well.

Thomas I feel, is just at the start of a great future. I think he has vision, not only in his photographic work, but also in his message. He knows his motivations well. This is a hard act to pull off for many and I feel that Thomas understands his own sense of aesthetics and along with it, his own vision and style. He has found his own path, and is on a journey, which I feel I understand well, because photography has been a journey for me also.

I hope this is the first of many books by Thomas. It was been executed well, which considering this is his first book, illustrates that Thomas knows his message and  has a strong sense of how to convey it.

For me, It will sit proudly alongside my Eliot Porter collection. As I said earlier; a high commendation indeed.

'With Trees' is available from Beyond Words books @ £40.

And also available directly from the Triplekite publishing in different limited editions.

New e-Book - 'The Digital Darkroom'

The Digital DarkroomImage Interpretation Techniques

£9.99 

I'm very pleased to announce the release of my new e-book ' The Digital-Darkroom'. This e-book is concerned with the art of image manipulation. Please read on.

As part of my photographic workshops, I like to spend time with the participants each day, doing image reviews. My image reviews are not just about commenting on composition or exposure - as part of the afternoon critique sessions, I also show how I would approach editing the work at hand.

I'd been wanting to expand on this for some time, and had thought that running some digital-darkroom workshops later this year would be the best way forward. I was surprised to see that the demand for such a workshop was very poor. I think this is because many people hold the belief that photography is mainly about being out in the field and learning the art of capture.

A great deal of work goes into creating good images out in the field, but just a much care and attention should go into the editing stage. I find the digital-darkroom an essential component of the image making process and it's a highly creative environment to get immersed in.

Good editing is not an easy thing to do. It requires years or learning to get good results and I've been learning for over a decade, and each year I learn new things.

Anyway, as part of my preparation for my digital-darkroom workshops,  I decided to put what I know about editing images  into an e-Book format, and began working on this a year ago. Only, the way to convey what I wanted, seemed to evade me. It only became clear to me once I'd written the 'fast-track to Photoshop' e-book how best to approach this subject. I realised I need not worry about the technicalities of how to edit work, and could instead focus on the real questions - what to edit and why.

So this ebook is application neutral. In fact, I don't mention any applications at all. It's all about looking at the underlying structure of images - how they work, and how to edit them based on this knowledge. This is all done with one aim: to convey that image editing is not a case of 'twiddling the knobs until it looks good', but instead, is more a considered study of what the image has to offer.

You'll find a comprehensive list of contents to the e-book below. I do hope you enjoy this e-book, as It has been a very long labour of love for me.

£9.99 

Table of Contents _____________________________

Part 1 Image Interpretation reading the structure of an image

Photographic Interpretation the de-construction of scenery

How does your eye move around an image? your eye tends to enjoy images if it can scan diagonally

Image Flow Overview leading your eye through the image

Image Flow Interruptions reducing the effect of flow blockages - the eye is attracted to dominant bright tones

Image Flow Interruptions reducing the effect of flow blockages - the eye is attracted to dominant dark tones

Image Flow Interruptions the eye is attracted to high contrast areas of the scene

Image Flow Interruptions the eye is distracted by conflicting or overly demanding colours

Image Flow Interruptions rotating an image horizontally can often reveal compositional imbalances

Image Flow Interruptions turning an image upside down can often reveal compositional distractions

Summary feeling on edge means something is wrong

________________________________________________

Part 2 Case Studies Image Interpretations

Tonal Balance Overview balancing one part of the frame with another

Tonal Balance 1 balancing sky with ground

Tonal Balance 2 grading the foreground

Tonal Balance 3 diagonal balancing

Tonal balance 4 a tunnel of light

Tonal balance 5 tonal dominance

Tonal Balance 6 emphasising horizons

Tonal Balance 7 the inverted tonal balance

Flow & Localised Contrast creating flow through an image & somewhere for the eye to settle

Flow Introduced by Burn-In creating flow through the use of burning in

Localised Presence bringing presence to particular objects

Localised Contrast cementing tonal relationships

Localised Saturation / Desaturation desaturating areas of the frame to reduce distraction

Vignettes give them more thought than usual - they’re very creative

Creative Vignette localised presence

A Parting Thought - going full circle there should be little difference between what you do in the darkroom, and what you do out in the field

£9.99 

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