Wall of Death rider and audience, Lincolnshire Show Ground, August 2009.
A picture taken in Boston, near to St Botolphs church, aka Boston Stump. This image was originally taken as part of a series I was making about the meridian as it passes through Lincolnshire. However, it does have carryover to other series; for example the series on dumped furniture and another on reduced landscapes. The abstraction of what I saw appealed to me greatly. PDBarton November 2019
The Taj Mahal is one of the most beautiful buildings in the world, except perhaps, when it has swarms of tourists all over it. Sue and I were there at the end of 2007. We arrived in the extreme cold and dark of an early morning. Abhishek had got us out of our beds saying “you have to be early”. As the sun came up the Taj appeared from the obscuring still mist, The rays of the sun glinted off pieces of pieces of semi precious stones inlaid into the dome. It was a truly wonderful experience. Shortly afterwards masses of tourist appeared, all vying to sit on the “Lady Diana” bench to get a selfie with the glorious Taj behind them. The moment was lost. Yes these images are touristy, but that’s what we were, simply tourists. Just two amongst the throng. And would I have missed it? Not a chance. Exquisite and wonderful. PDBarton Lincoln 2019
Nose cones of old aircraft on part of the old bombing range at Donna Nook Lincolnshire. March 2008.
Three ladies and their dogs. A misty autumn morning in September, drinking tea sitting on the Greenwich Meridian near Cleethorpes.
An image from a continuing series on ‘Fellow Travellers’, this image was made on a bus as it entered the centre of the city.
A street image from a walk in Dublin.
I was in Birmingham last week, the city of my birth. And just to remove any confusion, I’m talking of Birmingham in the West Midlands of England. Every time I visit there has been change. The city seems incapable of standing still for just one minute. Perhaps that’s how it should be, afterall, Birmingham is known as the driver behind the industrial revolution of the 18th and 19thC. and was for many years, the home of manufacturing in the UK earning it the aphorism of “The City of a Thousand Trades”. It’s not an old city. Its growth, fed by the industrial revolution, came as a result of hundreds of thousands of ‘immigrants’ from the farming communities in surrounding counties. My own forebears on both sides were “Aglabs”, agricultural labourers, from Staffordshire, Warwickshire, Gloucestershire, together with true ‘immigrants’ from Ireland. Birmingham is a crucible, and always has been. With that growth comes continual change. As a reason for change, added to that of growth, is development – in the shape of technology, working methods etc. …
I visited an exhibition of photography in Hull yesterday – 5th October 2019. Amongst the work there was a large display devoted to the work of Tristan Poyser. In this intriguing piece Tristan explores the concept of the Geographical / Political border between Northern and Southern Ireland. The line has been a contentious issue for many years and with the Brexit issue (where Southern Ireland will stay in the EU and Northern Ireland – being part of Great Britain – will potentially leave the EU ) inflaming debate once more. Tristan travelled the line over a period of a couple of years photographing as he went. Unlike County and National lines in, say North America, the lines are not straight, twisting and winding as they do. Tristan handed out images he had taken and asked people to rip the images along where they thought the border may be. The effect was to produce a large number of public interpretations of the border, many annotated with what they thought about the connected issues. The main part …
Work by Lisa Ross. Lisa Ross is a New York based artist. Her work in this exhibition shows images of holy sites of its indigenous Muslim Uyghur population in the Taklamakan Desert in Xinjiang, western China. The exhibition is beautiful. Any pictures of the show, even those on the gallery website, and my small attempt by way of illustration of the elegant basement of the Argentea Gallery above, fail to portray the glorious reality of the prints. They exude a quality of light which is mesmerising. As a photographer I stood in front of the images admiring the sheer technical expertise of the photographer and of the printer. If that is all you go to see this show for then so be it. You will not be disapointed. However, these are not chocolate box or even travel images. There is another aspect to the images. They document part of a way of life of the Muslim population of this part of China which is under threat, indeed these shrines no longer exist and access to …