We were in Bristol last week, and will be in Dorset next week – we get around in the summer, but not too far these days – so I won't be posting much more until September rolls in: a month which, even after all these years, still trails anticipatory vibes, good and bad, of the start of a new school year. Besides, everybody who bothers to read these posts is also likely to be away on holiday, and will have better things to do and to read. True, I should also remind myself that it is in fact winter in the Southern Hemisphere (hey, A-level geography wasn't wasted on me) but any readers down there – yes, I do have a few – will have to bear with us up here as we complain about unprecedented temperatures, drought, and dodging the wildfires. You'll get your turn soon enough.
When it comes to holiday reading, from my perspective a break from books may be more to the point. The idea of packing a single annual dose of carefully-chosen literary entertainment into your suitcase has never really made sense to me. Does anyone actually pay any attention to those "recommended holiday reads" lists? The ones in the TLS, at any rate, tend to be either stiflingly tedious ("the diaries of former minister Lord Duffer-Dullard of Boring will be my beach read this year") or alarmingly high-minded ("I'll be catching up with Latvian experimental auto-fiction of the 1920s"): there never seems to be anything as readable or as entertaining as the latest from Lee Child or Jo Nesbo ("I'll be getting into bone-crunching altercations and plot-driven Scandi-noir"). I made those first examples up, obviously: they're never really quite that bad; it just seems like it. But then I'm probably no longer a serious person, if I ever was.
If you're inclined to make visual "art" of some sort, then the pictorial felicities you have enjoyed in the work of others tend to stick in your mind as prompts and patterns. Perhaps particularly as a photographer, though, a lot of the cues you pick up on as picture-worthy "out there" in the real world have almost certainly been partially pre-installed in some part of your brain in this way. How could it be otherwise? This is not the same thing as imitation, but more a case of predisposition. For example, I was pleased with that last photograph, taken on our customary visit to Clevedon Pier last week, but had a nagging sense that it reminded me of something. Once I'd printed it, though, it came to me: it could almost be one of the prints of Nana Shiomi, who has a thing about floorboards.
That's not a frog btw, but an inflatable fish in a net hanging from a ceiling. Don't ask me; it's summer, and someone must have thought it was a good idea; something to do with fishing in the Bristol Channel. I doubt anyone else will have photographed it quite like this, though, if at all, unless they too have Nana Shiomi's work stashed away somewhere in their unconscious repertoire.
In the end, I think the essential trick with photography is to try to see everything that's in the viewfinder or on the screen, and make it all work together as a satisfying picture, not just as a document of the Nice Thing you saw, that ignores everything that was behind and around it. Compositional "rules" don't help; looking at lots of good pictures does. Admittedly, I could pretend that I saw that green tote bag coming into frame from stage right, but that was really just the gods of serendipity giving me a little nod. Thanks, guys! But next time, though, maybe make it red?
Have a great summer / winter.





