This is the exterior of the Towner gallery in Eastbourne. On our first visit, I was captivated more by the exterior than by the content of the interior. A sparse, almost minimalist, concrete facade that when reduced to two dimensions is purely about the inter-relationships between two oblong windows and the shadows thrown by light. Enjoy!

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A day at the seaside

West Wittering beach near Chichester is a great beach to visit when the tide is out. There are channels that cut across the beach so that the middle-ground often contains water and adds to the interest and drama when shooting towards the light.

Converting this image to B&W was a no-brainer. Silhouettes always work well in B&W. But the initial conversion didn’t really have a ‘bright’ background. Lightening the lighter tones has created a high-key effect which I think works well.

What time of year do you think this was taken? The clue perhaps is in the Mother’s right arm. Her hand has disappeared up the sleeve of her coat – she’s trying to keep it warm. It was actually shot in March. There was a stiff breeze and the air was chilly. The absence of a hand is a bit disconcerting. One of these days I will find a suitable hand in another image that can be transplanted to correct that fault. Once you spot something wrong in an image, you eye keeps being drawn back to it – and that’s a fact of life!

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Sail Boat

Hello everyone. As you can see I’m not dead! It’s almost three months since I last posted anything on this blog. That’s a long time, and a longer time than I intended. When you stop doing something, for whatever reason, it can be very difficult to get back into the groove.

My absence started with a reason. I underwent surgery. It was the first time I had been an in-patient in a hospital since 1952. A strange experience being a ‘Patient’, having spent my life being a doctor. Thankfully the surgery was not for cancer and I am now fully recovered. In the intervening months very few photographs have been taken. Life was very sedentary for several weeks. The garden got neglected and I’ve had some catching up to do in the past month.

On the positive side there was time to catch up on some reading. For those of you who enjoy hiking I strongly recommend ‘The Last Season ‘ written by Eric Blehm. It’s the story of the back country ranger Randy Morgenson who went missing in the Sierra Nevada back in the 1990s. A wonderfully evocative book. One of the best books I’ve read in a long time.

I also got a talk prepared (and delivered) to my local camera Club on Black and White Photography. Having a project sharpens the mind; and preparing to speak on a photographic topic involves trawling through the archives and finding images that had somehow got neglected.

And that leads me to today’s image taken on the south coast looking out to sea on a sparkling summer’s day. An inherently simple image that never really had much colour in it and benefits from conversion to B&W and an injection of contrast that colour doesn’t always tolerate very well.

Phew! I’ve got back on the bike (metaphorically); now I must try not to fall off.

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An intruder in the snow-scape

To ski down you have to travel up. One of the ski areas above Zermatt is served by the Gornergrat cog railway that terminates at Gornergrat – a place that has featured repeatedly  in my posts. From there the skier has a choice of pistes – some easy, some difficult. Some of them follow the line of the train.

This was a perfect day, the light was just right. I timed it right, to catch the train.

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This image follows on from my previous post – Click here to view. Glaciers look totally different in summer from what they do in winter. This is the Gorner glacier (2,000ft below me) clad in its winter cloak of snow that softens the lines of the underlying ice.

This abstract ‘sculpture’ is a repetitive feature of this glacier, the lines much harsher in summer when the snow melts. And when the surface snow melts it penetrates deep into the glacier via the crevasses and ruptures in the ice which are created by the nature of the terrain over which this river of ice is moving, far slower than a snail. That constant flow of melt water weaves its way, progressively eroding the ice forming these extraordinary shapes. Isn’t nature beautiful?

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Specks of Humanity

One of the difficulties I face as a photographer, who also skis, is how to portray the vastness of the mountain-scape through which we travel.

One of the answers is to include fellow adventurers in the image. When fellow skiers or mountaineers are reduced to mere specks in the vastness of the ‘scape then the viewer gets some idea of scale.

This was taken from Gornergrat, the top station of the Gornergrat cog railway, high above Zermatt, and from where one get one of the greatest panoramas in the Alps. The mountains are spectacular, but once I have scanned the 360 degree view my gaze always shifts down onto the Gorner glacier – a white ribbon of snow, 2,100ft below. There are always images to find looking down.

To my astonishment, through the long lens (375 mms), I picked up this line of figures, on the far side of the glacier. A rough calculation suggests they must be about a third of a mile distant from me – invisible to the naked eye, unless you look extremely carefully. Who are they, where have they been, and where are they going? They are clearly ski tourers. On the big screen back home I can just make out their skis. They are heading from left to right down the glacier (although at this point their path suggests a slight incline) and my guess is that they must have been somewhere up very high near Monte Rosa.

I’ve visited this place many times and scanned this glacier many times but I have never before seen people on the edge of that glacier. And this is one of the joys of being a photographer in this majestic Alpine mountain-scape: there is always something new to find. Something special that makes the heart skip a beat.


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Half buried but alive

Winter is tough when for several months you are half buried in snow, but the coniferous trees of the Alps are used to it and they do indeed survive.

This image was taken within a minute or two of the image in my previous post featuring the North Face of the Matterhorn, click here to see that post. This image caught my eye because of its simple minimalism. One small tree, with an even smaller one balancing the composition with ski trails providing a link.

The main pistes around Zermatt can often be crowded and when they are it is safest to keep going at a steady pace just like one tends to do when driving on busy roads. School holidays, particularly the half-term holiday weeks in February, can result in over-crowding and lengthy queues for uphill lifts. We always avoid those weeks, and on our most recent trip I never had to queue for more than a couple of minutes.

The quietest pistes at Zermatt tend to be the ones from Schwarzsee down towards Stafelalp or Furi. The Hirli lift has now been extended and provides a way to get back up above Schwarzsee, but if you ignore that, then you are on the long way down to Zermatt, and in the middle of the day not many people are wanting to do that. At times it can feel like you are the only person on the mountain – in total silence.

This image was shot on the last day when I had decided to head down for lunch and then a quiet afternoon back in the village. The piste was almost empty. Under those conditions it’s nice to dawdle, pause, and admire the view and take a few pictures.

The Nikon is around my neck, the chest strap on my slim-line rucsac secures the camera to my chest so it doesn’t flap around. The lens cap is off (yes, off), the camera is ready to use. You may be shocked by that! Skiing with a thousand pounds worth of camera exposed to the elements! Am I crazy? Well, I don’t think so, but my wife might disagree! When the Nikon is out, I ski a little slower than normal and take care. The bonus is that I am primed to take a picture, and therefore pictures get taken. If the camera is in the rucsac, then its a hassle to unstrap the rucsac, get the camera out, and remove the lens cap without dropping/losing it (very easy to do that while wearing gloves). And if the camera is hidden away, then images get missed. Life is always a compromise and for each of us we have to weigh up the risks and benefits of a given situation and make our decisions accordingly.

A lot of the images I take in the Alps – summer and winter – are the result of being in a position to shoot immediately. Having your camera in hand sends a signal to your brain that says: I’m looking for pictures. Your eye is switched on, you are hyper-aware.

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Matterhorn North Face

Skiing is the fastest way to move around the mountains, and it can get you to places that would take two or three hours to walk to.

This is one of my favourite places in the Zermatt valley – Stafelalp, a good two hour walk from Zermatt. Reached in just a few minutes from Schwarzsee on a piste that is always quiet. And the view is magnificent, you see the mighty Matterhorn from an entirely different angle and in winter it is particularly spectacular. It stands in complete isolation, a stark monolith of ice and rock. There is very little colour in the view from this standpoint and removing those traces of colour accentuates the coldness of the situation.

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Turn and turn again

I’ve just back from a week’s skiing with a new clutch of images that I am slowly working through. However, this panel of four was taken in a previous year.

Skiing is a very dynamic sport – athletic, fast-paced, aggressive in the way a slope is attacked, but also graceful. Watching a skier execute turns with the sun behind him demonstrates something of the skill that we have to learn to be competent skiers. Each turn kicks up snow that hangs in the air, backlit by the sun.

The series of four images above spans two seconds during which the skier changes direction twice. Using continuous focus, capture was not too difficult. Processing was harder. You would think that four images taken in a narrow arc so rapidly would all have exactly the same exposure and could easily be batch processed. Not so: there were subtle differences that needed correcting and I’m still not entirely happy with the results. But they do show the athletic, just-in-control, attacking style of this skier.

Click on the image for an enlarged view.


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Alpine monochromes

When I first started visiting the Alps fifty-five years ago, much of the photography that was on view in shop windows and on postcards was in black and white. The images had a starkness about them, the absence of colour suggested cold, and monochrome simplified the MountainScape above the snow line into blacks and white. Colour often seemed an intrusion. I never lost that love of Monochrome, and although I always shoot in colour these days, there is always a thrill in converting images to monochrome.

The image above is of the classic Aiguille du Midi arête featuring skiers descending it before stepping into skis and embarking on the Vallee Blanche ski-run, reckoned to be the greatest off-piste ski-run in the Alps. A few minutes later I was descending that arête. To view my blog entry about skiing the Vallee Blanche click here.

I am not a great lover of including people in landscapes: they are often an unwelcome intrusion, but when it comes to photography  in the high Alps, then the inclusion of fellow skiers or mountaineers adds information. Their presence gives a sense of scale, an awareness of the hostility of the environment, or sometimes simply what we – as mountaineers – look like when we set out on a high climb in the early hours of daylight. Climbers in this image are setting out to climb the Breithorn, an easy 4,000 metre peak: roped up and well prepared, as we always should be when we set out on a climb.


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