Archive for the ‘Photographers’ Category



Usine Toyota No. 7, Valenciennes
Stéphane Couturier



Adrian Tyler



Ruigoord 2
Wout Berger, 2002



River Lee
Dean Hollowood



Apples with red inner bags, fall, Aomori prefecture
Jane Alden Stevens



Revisiting Shiskat

Zulfiqar Ali Khan, 2010




Hillsides, Gorman, CA
Stephen Strom



Copper Mine, Az
Marco Van Middelkoop



Abandoned Syrian base, View of a minefied, Golan Heights
Shai Kremer, 2007



Midway, message from the gyre
Chris Jordan, 2009



Nature Morte 114
Astrid Korntheuer, 2009


Mirrors, windows, walls
Mike Chisholm, 2010



Sabrina Jung, 2001



Berck ou comment prendre son pied
Henri Gaud, 2010



Untitled #43 (from the Morning and Melancholia series)
Laura Letinsky, 2001



Mow Cop
Emma Biggs and Matthew Collings, 2008



Colour composition derived from three bars of music in the key of green
Roy de Maistre, 1935 (via)



Suprematist composition
Kazimir Malevitch,1916





Mike Chisholm is a man obsessed, and the Twiglog salutes him.  He is well-practiced in the English art of self-deprecation, but no amount of wry humour can mask his deep-rooted and serious fascination with water.  Not the portentous water of crashing ocean waves, mighty waterfalls or chocolate box alpine lakes, but with the moods and ever-shifting subtleties of small watercourses and their surroundings.



It probably helps that he lives and works not far from my parents’ house in the south of England, and that the streams and aquifers he loves are the same ones I paddled in as a child, but there is more to it than that.  Chisholm’s observation is of the long term kind, built up over many years and yet still fresh enough to be able to see the unique in the familiar and to pay attention when seeing the same place for the ten thousandth time.

It certainly helps that his photographs have a wonderfully attractive, abstract quality.  There is a simultaneous sense of shapes and colours in two dimensions, and a series of layers and collapsed-together image planes in three.  Given the complexity of the scene, and the camera’s mad insistence on seeing all things equally, the coherence of the finished presented photographs is a wonder.  I suspect that his long term commitment to a few well-loved places is one root cause of this coherence.



He recently started a blog, Idiotic-hat (  Anyone who can combine morphic resonance and Kelvin vortex atoms in a single post has to be doing something right.

From Wild Things XVI: Indian Brook

My own preoccupation with undergrowth and weeds grew out of a desire to show the natural world as I encountered it, rather than as it was being sold to me in the mainstream media and the photographic press.  When I started I was naturally isolated by the sheer practicalities of finding space to photograph in the cramped odd corners of my life.  Later, I decided to avoid too much exposure to other photographers because I felt strongly that my biggest problem was a tendency to take photographs because they looked like photographs.  I wasn’t looking at the world as it was, but rather waiting for a predetermined photograph to come along so that I could capture it.  I spent a long time groping my way out of a lazily-learned behaviour and eventually arrived, somewhat pleased with myself, at a point where I thought I had something uniquely my own.

Then I discovered Friedlander’s landscapes, and Ray Metzkers, and older work from Ralph Eugene Meatyard and Frederick Sommer.  I also found that many other contemporary but less canonical photographers were also grubbing about in the underwood, sometimes for well-articulated conceptual reasons, but among those that resonated most strongly, just because they found the places to be visually fascinating.  The largest surprise was how many of those I found had backgrounds very similar to my own.  I half thought of calling this blog’s “Twigographer” category “Middle-aged Expat Englishmen Who Photograph Undergrowth”, but that seemed unfair to the middle-aged expat English women, and in any case it was too long for the sidebar.  I can’t believe that every single one of us spent our childhood leisure hours mucking about in neglected coppices and golf course gorse stands, but perhaps we did.


From Wild Things XI: Indian Brook

I don’t know how old John Brownlow is, but he’s an expat Englishman who photographs undergrowth.  Some of his photographs have a similar narrow field of view to my own, but it is his marvellously constructed panoramas that really excite me, not least because I know from experience how hard it is to maintain any sense of coherence in wide angle views of this sort of subject.  There is a touch of the sublime in Brownlow’s work, but no bombast, and an overall sense of composition which balances the parts and the whole beautifully.  He also occasionally uses colour, which is rare among any of the twigographers I have come across, and obviously speaks to my own interests directly.


From Wild Things I

Brownlow’s photographs are spread somewhat haphazardly across his website and his Flickr stream.  If you can live with the incredibly annoying Flickr interface the best way to take a comprehensive survey is to browse the “Wild Things” sets there.  The galleries on his website are easier to navigate, but you’ll miss some recent work.  Wherever you browse, Brownlow has been generous with his file sizes, so I recommend taking the trouble to look at the large images.  These sorts of photos work best at a particular size which is rarely as small as a blog or Flickr placeholder.  The formal and tonal relationships need the correct amount of room to breath and express themselves, and in the sweet spot the detail becomes an accent rather than a distracting mess, so I recommend finding a large monitor and treating yourself to the full resolution pics.


Broken reflection in pool, 1992

Broken reflection in pool, 1992, From Sweeney’s Flight

My tendril always seem to be a few days or months behind the rest of the grapevine, so I am going to leave general posting about novel projects and interesting photographers to blogs which lie closer to the main stem.  Instead I want to highlight photographers whose work has generated a special resonance with me personally, and with my current photographic obsessions.


Turf Stack, Donegal, Rachel Brown

Turf Stack, Donegal.  From Field Work.

Rachel Brown‘s Donegal Pictures are exactly the sort of photographs you are supposed to make in Donegal.  Smiling schoolkids, farmers with sheep, and plenty of hand-knitted sweaters.  Her other projects provide more of a surprise, and for me at least, an aesthetic treat.  They have the same sense of a close and informed connection to the landscape, and the people who form it and who are in turn formed by it, but the things observed are at once less obvious and more important.  Brown also has evolved a composition that is less dogmatically photographic, which frees her to do some interesting things within her square frame.