Minerva Pier, January 1977

Minerva Pier in 1977. River Humber ferry


When I came to see this structure, the landing pier for the ferry across the Humber, I did not realise that the service was going to close soon after to make way for the Humber Bridge, initially labelled as going from nowhere to nowhere. 

At the time I had been in the city for about three months. There was mucb to learn. 

Still, forty years later, learning. 

Death in a French Garden

A couple of evenings ago I re watched Michael Deville’s stylised film on a VHS tape I recorded years ago from the TV. I first saw it in the 1980s in the now defunct Hull Screen. It introduced me to the work of the controversial Polish-Swiss painter Balthus; one of his works, The Street, was, is, one of the inspirations for my street photography.

The Street can be seen here.

The younger wife of a rather sadistic industrialist traps the young guitar teacher hired for their teenage daughter, Vivianne,  in her amorous web to get rid of her husband. A contract killer befriends David, the teacher (the magnus opus of his father was to perfect a bomb), through a kind of surreal conversations between them we learn that he has been hired to kill an industrialist, who happens to be Vivianne’s father (Michel Piccoli), and steal a microfilm hidden in a globe. I found then, and now, the end quite surprising, as David, now rich as he collected the reward of the killing, flies away with Vivianne. Visually a very compelling film, the sensuality of the love scenes being was would be expected from a French film…

More information about Death in a French Garden at IMDb.

A sense of spatial depth

produced by the 90mm f5.6 Fujifilm wide angle lens for the 5×4 large format camera is quite impressive, to my eyes. Not only, and merely, bokeh, but a sense that one can walk into the photographs, that one can breathe in the place… 

Passing observation on colour perception 

Tonight, checking on the redecorated walls of the room, I noticed that my eyes perceived a much sharper differentiation between  the shades of white on the walls (chalky emulsion of Chinese white) and the ceiling plus woodwork (brilliant  white) under artificial light (LED bulb rated at 2700 Kelvin)  compared to viewing under daylight, where the colour temperature would be at least 5000 K if it is a warm sunny day, and colder on cloudy weather. 

The girl of La Alhambra

I was leaving after my ritual visit to La Alhambra when I spotted this girl going up to the palace. 

Girl of La Alhambra 1


What struck me what her assured attitude, as if she knew where to go, as if she had done that journey uncountable times before.


La Alahmbra Girl 2


I re-traced her steps, and my own, to find her perched on a wall quite high up in the compound, with a cat who seemed to be quite comfortable near her…


Girl of La Alhambra 3


immersed  in a world that surrounded her as if it had been made for, and only for, her.

Even the cat had left, and I became a stone.


Girl of La Alhambra 4


Then she disappeared as silently as she had arrived. She never acknowledged me, or my camera, all the time she was there.

The cat was nowhere to be seen, and I became a person again.

That was 30 years ago.

I quite often I wondered what happened to her. Did she ever went back to that corner in an upper wall of La Alhambra? Is she still in Granada? Is she gone?

I can feel my heart…