For many years now and I've been handing out my own quick guide "cheat sheet" on the photography courses I run - a double sided and lightly plasticised A5 sheet which you can keep in your camera bag for quick reference. People often come back to me and say how helpful it's been so here it is, available to download and print for free. Just right click on the images to save them. I hope it comes in useful. To find out more about the courses I offer, click here.
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For a long time now I've been thinking I should learn to video. Like so many things, it's always on the list of things I ought to do, yet there always seem to be obstacles in my path, either real or imagined which prevent me from taking the necessary steps. Moving images require a whole new set of skills to learn, and that means investing time (and money) in learning them. In itself that's not a problem, but combined with the inevitable demands on kit investment and the difficulties in balancing the existing work/life/money situation, it's always something that seems to get pushed onto the back burner and I promise myself that I'll do it one day.
While the pressures of finding the time and money to invest in developing the necessary skillset are still very real and present, I recently found myself pushed in to a situation where I had to jump in and either sink or swim!
My brother Chris, a very talented musician/songwriter/producer called me up a couple of months ago asking if I knew anyone who could do some filming for him for a short promotional video he wanted to put together of his band, Da Lata. He'd been let down and needed someone at short notice to step in and do some filming. Not knowing anyone who'd be able to fill in with only two hours notice I decided to bite the bullet and offered to do it myself. I figured that as a photographer I already have an idea of framing and composition and with a rudimentary understanding of the basics of shooting video on my Nikon D800 I figured I'd be able to provide an acceptable service which could be edited to create a reasonable video.
So here it is, with thanks to the talented Tian Xu for editing.
Food Photography on Location
This is a series of images from a food shoot I recently did with London digital creative agency Kota Creative for Brazilian Restaurant chain Preto. It was a two day shoot on location at Preto's newly opened venue in Camden, North London. The first day was spent shooting food which was prepared and styled by the kitchen staff on location. The second day was all about the pickups and lifestyle images, shots that would capture some of the details and the atmosphere of the restaurant. All the images were shot for the new website and re-brand that Kota had designed for them.
With all food and product shoots it's important to provide options for re-touching in case decisions are made to change certain elements within the composition so I always shoot the same composition several times, removing individual elements one or two at a time. As I was reviewing the images for this particular shot with the creative director on location, they created a kind of stop frame animation effect, so I thought it would be a bit of fun to create this time-lapse. Of course, the accompanying music had to be Brazilian so I've used an un-released piece written and recorded by the super talented Chris Franck and Da Lata.
To see more images from the shoot, both food and lifestyle, as well as the web design by Kota, visit the Preto website.
Night Photography in London at low tide
With the long winter nights and the shorter days at this time of year I've been running a lot of low light and night photography workshops lately. Most of these take place around some of London's iconic and extremely photogenic riverside locations but I also like to venture further in towards the City or the West End, depending on people's preferences. I often bring a small camera and tripod along myself as I find it hard to resist the urge to shoot these locations again myself. The river is always a big draw for me as I love the way the city lights reflect on the water with the super slow exposures that I use at night, both at high and low tide, but especially when the tide is low.
There are a few key points to consider when shooting in low light but once these are understood and you're familiar with the concepts, there's no reason not to feel confident in going out at night with a camera and a tripod. What I do find though is that when shooting at night, each shot takes a lot longer to complete, as shutter speeds are generally much slower, in-camera processing also takes a lot longer and often several shots of the same subject matter are necessary to judge the results and decide on which elements work best (tip: busses and high sided vehicles work better than cars for low angle light trail shots!). I like to play around with light trails and create light orbs too. The spinning balls of sparking fire are a lot of fun, achieved by a simple trick involving steel wool and a kitchen whisk!
This galley was all shot as .jpegs on my Canon G16. The quality isn't bad at all with its 12MP CMOS sensor. The beauty of this little camera for night photography for me is the built in ND filter and the extended range of pre-set shutter speeds beyond 30", something I've yet to find on any full frame DSLR! The dynamic range can be difficult for any camera to capture accurately at night so some degree of post processing is almost always required. I'm not generally a fan of HDR images but when the ambient light conditions are so high, a lot of night scenes in London are HDR by default, so I don't mind bringing that out a bit in post processing.
The night and low light photography workshops that I run are informal and fun. Nobody knows it all and photography is a continual learning process but my aim is always to ensure that everyone develops their understanding of photography that little bit further.
If you want to join in one of these night workshops and learn more about the tricks and some tips on low light photography, please just get in touch or check back here regularly to see when the next workshops are scheduled.
Corporate Staff Portraits
When it comes to photographing real people on location there are always challenges to overcome. If you're unfamiliar with the location and you're shooting in a space which is used by the general public it's important to be able to quickly choose a setting within the venue which will work both for the shot and for the client's brief. Setting up lighting, tripod, laptop etc. can cause some Health & Safety concerns in public areas but the most important thing is getting people to relax in front of the camera.
A good portrait is a reflection of the person being photographed and when people are nervous, as they often are in front of the camera, the job of the photographer is more than just getting the technical aspects of lighting, composition, focus and so on right, it's about engaging with the subject and getting them to relax and enjoy the shoot.
Here's a small selection of some some of the corporate portraits I've been shooting for one of my regular clients, LAH Property Marketing who have a number of staff working in locations all across London and the South East. These portraits were shot for their website and I've included a few of the more relaxed ones in this gallery which show some of the fun that we have on these shoots.
52:48 - A Nation Divided
A series of portraits around the theme of the referendum to leave the EU held on 23rd June 2016. I want to approach this project without prejudice, as an open dialogue to find out who voted how and to share their opinions with other people so that both leavers and remainers can see the ‘other side of the story’ as it were.
As more details emerge about post Brexit Britain, a picture of a divided nation is forming. In my opinion, this is not so much based on Britain’s relationship with Europe as was portrayed by both campaigns in the run up to the vote but more as the result of successive national governments having ignored huge swathes of the population, who ultimately viewed the referendum as an opportunity to make their voices heard.
Since Brexit there has been a tremendous increase in the amount of reported incidents of hate crime but I feel that this is a separate issue which simply reflects how the outcome has been interpreted by a small proportion of the population and is in no way indicative of the motivations that people had in casting their vote.
My own position is irrelevant as I am an EU national and was ineligible to vote, although for the sake of transparency, my position was to remain. I have livedin the UK since 1975.
If you'd like to take part, please contact me to arrange a portrait session.
To visit the page relating to this project on the BBC website, click here.
Earlier this week I was commissioned by martial arts expert/stuntman Elliot Murray to take some portrait shots for his new website.
Here's the lighting setup and below are a few of the final shots.
I'll be taking part in the annual East London photography festival again this year, exhibiting some of my work from Western Sahara at the Hundred Years Gallery as part of Sandblast's exhibition: Africa's Last Colony: 40 Years Not Forgotten
Below are the images that will be on exhibit.
These pictures will be on sale, together with other contributors' images at the Hundred Years Gallery between 15th October - 7th November 2015
I was recently told about a photography exhibition being held in North London which had a very interesting story behind it. It's run by an organisation called Accumul8 which is involved in some fantastic community work in North London. Together with Ravensbourne College and the North London YMCA, they help provide creative training, combined with culinary skills to young vulnerable and homeless people. After contacting them to offer my support in what I thought sounded like a great project, I was invited to the private view of their photography exhibition on 4th June so I offered to do some event photography for them and I also shot a few portraits of the participants.
Below are Levi, TJ and Sam, three of the project participants.
More about Accumul8:
"In July 2013, the North London YMCA contacted the Crouch End Festival. They wanted to explore ways that the two organisations could work together to join the skills and talents of local artists and craftspeople with the creative potential of the young, homeless people living at the NLYMCA hostel.
A meeting was held with the residents and together, they planned to have creative workshops at the hostel and then show the work at The Crouch End Festival.
Funding was needed to pay for materials for the Accumul8 creative workshops. So they decided that the best option, and the one that would have the most benefit, was if Accumul8 made its own money, by producing a product that was cheap to make, desirable and could be easily sold. All of this would be part of the Accumul8 learning process and project journey. The product they decided on was home-made jams and chutneys – the Accumul8 Preserves with a Purpose. The fruit for the preserves is donated from the local community and so people get involved and support Accumul8 via surplus fruit.
The majority of the young people involved with Accumul8 have come from institutionalised backgrounds, including care homes, hostels and youth offender’s prisons and have no previous experience of cooking.
Since 2013, regular photography workshops, supported by Ravensbourne College, have been held with the residents. The Accumul8 photography project, however, is more than just a creative activity. It takes the residents outside of the hostel to observe the world around them, they explore their creativity, work towards an end goal and become part of a team, most importantly it develops their skills and confidence to start on a more positive journey in life. "
A couple of articles for which I shot Rohit Jaggi, aircraft, car and motorcycle columnist and Deputy Editor of FT Wealth Magazine for the Financial Times as he reviewed a car and a plane for Financial Times Wealth Magazine
Selection of images taken during a recent trip to Istanbul
One of my favourite teaching aids, an old Kodak Retina 1a camera.
A great way to understand aperture and shutter speed is to look at "old fashioned" fully mechanical, fully manual cameras and lenses. Modern digital SLRs work on exactly the same principle as the simplest pinhole cameras to allow light in through a lens to expose a light sensitive recording medium, either film or an electronic sensor. Seeing how the iris in a lens opens and closes and how the mechanical timer sets the duration of the shutter speed is a great way to understand exposure. The built in light meters of modern cameras make getting accurate exposures child's play.
However, the thing about great images isn't necessarily technical accuracy, perfect exposure and pin sharp focus, but composition. Learning how to control exposure is the easy part; developing an eye for composition, a way of interpreting the world and depicting a scene, that's the tricky bit, and something I also cover as part of my workshops and personal tuition sessions.
In 2010 I met Diana Korchien, then editor of PRA's Montage magazine at the Frontline Club in Paddington, during a presentation by the citizen journalism organisation Demotix. After discussing the difficulties I'd experienced in launching my photography career, she asked if I'd write a short article for them. Here it is:
I’m a freelance photographer and pretty new to this game, having only started in 2007, just as the financial crisis was beginning to hit. I’m often asked “what kind of photography do you do?” and the answer is never easy. Depending on who asks the question, the answer is often something like: “I mainly shoot people, editorial and commercial portraits, features, design agency work…” before tailing off while the possibility of retaining any sense of credibility still remains!
The fact is, it’s hard to survive on just one kind of photography. In a market where images are a short-term commodity bought cheaply amid stiff competition, photographers need to diversify and consequently be able to work in more than one genre.
The problem photographers face is that ways in which images are created, bought and sold has changed significantly over recent years, especially in photojournalism. The days when picture desks would send photographers to cover a story are all but gone. In general, photojournalists aren’t seen as story-tellers so much as story illustrators nowadays.
In 2010, the EPUK published an article on their website by the former head of Network Photographers and Magnum London, Neil Burgess in which he even called the ‘death of photojournalism’.
So who or what killed it? There are a number of suspects. The decline of print media and its replacement by online editions of newspapers and magazines? The rapid growth of huge stock image libraries like Getty and Corbis, together with microstock and other image providers? While these have certainly played a contributing role, there is also an apparent assumption that images in the public domain are fair game as seen by AFP and Getty’s use of Daniel Morel’s images from Haiti, although thankfully Morel eventually won his case and was awarded damages of $1.2m in November 2013. The rise of ‘citizen journalism’ where amateur photographers supply images, often free of charge for use by mainstream media is another factor. The thousands of talented amateurs who use photo-sharing sites like Flickr without understanding the complexities of licensing and usage further undermine the profession as creatives scan these sites looking for cheap or free images.
This means there are now more images from a wider range of photographers being made available than ever before, and consequently there is less demand for full-time professionals. So unless you’re a seasoned pro at the absolute top of your field or able to fund all of your own work, the scope for new photographers to develop is restricted to self-financing, grants or that elusive ‘lucky break’.
I also think there has been a major shift in peoples’ attitudes towards the value of photographic images. We are so used to seeing both high and low quality photographs around us that many people can't differentiate between them and images themselves hardly register any more. The photographic image is being steadily devalued through such immense yet largely un-recognised consumption of pictures.
The global financial crisis has also played its part. Budget constraints mean that people won’t pay more than they have to and everyone is trying to economise. That’s understandable, but it translates into there being less commissioned work available and photographers having to compete with stock images selling at rates which make it hard to earn a living by.
So where does that leave the freelance photographer trying to earn a living? Aside from specialist fields like high-end fashion for example I believe that if professional photographers are to survive we need to redefine the landscape, try to influence the way the market behaves and work together with image makers, image distributors and image buyers to protect our shared and interdependent future. We need to establish a new way of looking at photography and the role of photographers. The question is, how?
When I first started out as a freelance photographer I was keen to return to an area I had been to previously during a trip through Africa I made when I was in my twenties. At the time I knew nothing of Western Sahara or the Polisario Front, but as I started to develop an interest in documentary photography and visual storytelling I wanted to explore the issue in more detail, so in 2007 I returned to the area in South West Algeria where Saharaoui refugees have made their home since their Moroccan enforced exile.
Since 1976 the Polisario Front, the government-in-exile of the Saharaoui fighting for self-determination of the Western Sahara, has been at war with Morocco. The former Spanish colony was annexed by Morocco after the former colonial power left in 1975. It was later sealed off by a heavily guarded wall built by the Moroccans known as the Berm, stretching the length of the border between Occupied Western Sahara and the Polisario controlled liberated territories.
Since a UN-brokered ceasefire in 1991, Polisario soldiers, young and old, perform field exercises and scout Moroccan positions in the mine-ridden no man's land. There are an estimated three million landmines and unexploded ordnance littering the former frontline resulting in many casualties and deaths every year among nomadic Berber livestock herders and Saharaoui.
Meanwhile, refugees from the Western Sahara who fled the conflict have been subsisting in dusty camps in neighbouring Algeria, Polisario's main ally, who have closed their border with Morocco.
Polisario estimates there are 170,000 refugees in the camps in South Western Algeria who rely on international aid, distributed by the United Nations. Despite daily hardships the refugee camps are well-organised: women's rights are widely respected, literacy is above 90%, and many children go on to study at universities abroad. A fragile ceasefire exists but tensions are high. Saharaoui who remain in the occupied territories are subject to police discrimination, detention and regularly report incidents of human rights abuses.
I lived with Polisario soldiers in the desert and was able to travel with them to locations where they carried out military training and operations. I also met some incredible people working with Landmine Action who were training local Saharaoui to clear mines from what is still one of the world's heaviest land-mined areas.
To see the picture gallery I shot for the BBC, click here
For more information on Western Sahara check out the amazing work being carried out by Sandblast
Towards the end of 2014 United States President Obama announced that America would restore full diplomatic relations with Cuba, more than 50 years after President Eisenhower imposed a trade embargo on Cuban exports during the cold war. What this means for the future of Cuba is uncertain, but it will no doubt mean that a big change is on its way.
Cuba and the US have had a long-standing love/hate relationship but in it's cultural heritage, especially through music, Cuba has managed to bridge any divisions and reach a truly international, even global audience.
When you think of Cuban music, you think of the wealth of fantastic talent that has come out of Cuba over the years - artists like Willie Colon, Celia Cruz, Irakere and Buena Vista Social Club. Nowadays, there is a big Reggaeton scene in Cuba (as there is elsewhere in Latin America) but what many people don't associate with the island is a flourishing Rap and Hip Hop scene. Perhaps typical of Cuba, this American import has been enthusiastically adopted by Cubans and is steadily increasing in popularity. In 2002 the Cuban government recognised the significance of the Rap music scene and even provided a degree of endorsement through a Ministry of Culture sponsored record label to promote local artists.
However, not all Cuban Rap artists are so enthusiastic about what they see as the State sponsored, somewhat sanitised version of their art form. Alongside the officially recognised Rap scene there exists a slightly more subversive, slightly more critical scene. Ironically, a lot of the artists aren't anti Castro or anti communist, but simply critical of the state and its methods of control.
What's a picture worth? It depends. Like most things, it's only worth what someone is prepared to pay for it. Sure, there are industry 'norms' which dictate how much a newspaper or a publisher will pay a freelancer to go and shoot a feature, there may be 'typical' fees for commercial shoots, which might vary depending on usage. Stock libraries have a fee structure for contributors and buyers and so on. But in a world where the photographic image is a commodity which has become so readily accessible, it is hard to put a figure to the true value of a photographic image and the photographer's skill in creating that image. There are even stock image libraries that place so little value on photography that they guarantee buyers to supply images for as little as $1.00 each. The point to consider, in my opinion, is what the impact of a good shot is, over that of a rubbish one. Good shots can easily be overlooked, but a bad one will stand out like a sore thumb.
When I teach, I often meet students who tell me with great pride that once they've learned how to use their cameras they'll be taking all the staff portraits at their place of work for use on the new company website or corporate brochure or whatever. This depresses me. Clearly the head of marketing or PR at their companies would rather save the fee of getting professional shots done and instead use the keen amateur. That's not always the case, but it is an example of the shift in people's attitude towards the value of photography. The thing is, we all have smart phones which are able to take relatively decent pictures without us having to understand the technical, or indeed creative processes that inform our decisions when we take a shot. Add to that the huge number of applications which make our pictures look a million times better than they really are and most people think of themselves as able to take a decent photo. So when faced with a 'real' camera people are easily led to believe that its owner is able to do as good a job as a professional.What's more, people generally take the view that because photography is something that photographers enjoy, they're prepared to do it for less, or even free. I'm often asked on jobs to take additional pictures which weren't in the initial brief, 'while I'm here'. Such requests raise a minor dilemma. Is it better to provide the extra shots without question for the sake of good relations and the possibility of developing an on-going working relationship with a particular client, or is it worth trying to explain that any additional shots would incur additional costs and so risk upsetting and possibly losing a potentially regular client? The fact is, if you get a professional decorator to paint your living room, would you ask him to do the hallway too, 'while he's here' and not expect to pay him? Why should it be different for a photographer? Yet the prevailing attitude remains that pressing the shutter release button a few more times costs nothing. Never mind the additional time spent in post production, or re-arranging lights, backdrops or camera possibly to another location, simply 'while you're here'.
However, not all photography is quite so readily undervalued. On the contrary, where there's money to be made, the value placed on photography can rise to stratospheric heights.
I was recently talking to a friend of mine, a freelance art director who not so long ago was working for a major agency on the re-branding of one of the largest supermarket chains in the UK. A large part of the brief he told me was to increase customer awareness of fresh produce which had always been one of the weakest selling points for them. He went on to tell me that they were using a food photographer who charges £5k per day. £5k per day to shoot fresh fruit and veg in an attempt to convince customers that their fresh produce is of the finest quality! Admittedly, the pictures they'd been using to date were terrible (more because of poor styling than poor photography) but is £5k per day really worth it? Where product photography as part of a large advertising strategy leads to increased sales and profit it seems that the value placed on photographs is not insignificant and clearly is worth it.
Because when people choose to use a professional, what they're actually choosing is more than simple camera skills. What the professional offers over and above knowing how to take a photograph is consistency, reliability and the ability to deliver a product which correctly interprets the brief, as well as problem solving skills and the benefit of experience (I've heard it said that one of the things that separates the pro from the amateur is not that the pro doesn't make mistakes, but that the pro knows how to correct them!).
So the question of what a photograph is worth goes largely unanswered. It's worth what someone is prepared to pay for it. Perhaps a better question would be "What's a Photographer worth?'
It’s long been said that the camera never lies. That’s not true. It may not be the camera itself that does the lying but the person holding it is certainly manipulating the truth every single time the shutter is released. Take for example the famous pyramids in Giza. I’ve never been there but I’m reliably informed that Cairo’s urban sprawl encroaches right on to the edge of that so often photographed vista in the desert. The fact is, most shots of the pyramids are taken from an angle that excludes views of Africa’s second largest city.
Whenever we take a photograph it is up to us as photographers to make decisions, often sub-consciously, about what we include in the shot, how we frame it, how we expose it, what camera angle we choose and so on. But just as important is what we choose to leave out. That is often a more conscious decision and one that can lead to much controversy if not taken carefully. And it’s not only photographers who manipulate truth and reality in this way. When it comes to reporting current affairs, Picture Editors decide which images best tell the story that they want to be told, thereby immediately introducing a second level of decision-making in to what is finally presented to the picture consuming public.
Take for example the emotionally powerful image of a four-year old refugee taken at the beginning of the current conflict in Syria, seemingly lost and alone in the desert and found by UN workers. In reality he had become separated from his family but was far from alone in the desert. The image had been cropped to represent a "cropped" version of the story. So while the camera itself isn’t actually lying, it is being used as a tool that is selective about what is represented. And as such it is able to focus the viewers’ attention on specific elements which are particularly significant or effective in creating a response.
Similarly, images posted on twitter in 2014 depicting state violence and brutality towards civilians in protests in Venezuela were a mixture of both truth and fiction. Alongside genuine shots of the Venezuelan protests, images of police brutality from other protests around the world were also used, presumably in an attempt to create a stronger reaction and thereby generate sympathy and support for the protesters, especially given the lack of media attention they were receiving. However, if people are trying to tell the truth through the use of photographic images, they aren’t doing themselves any favours when they use them in this way.
But the question of “telling the truth” goes far beyond using images from other conflicts in a different context and claiming they are genuine, or cropping in to a small section of a wider scene for maximum effect. It starts with what a photographer chooses to represent in an image. The history of photography provides many examples of staged scenes depicting a supposed truth.
The obvious example is of Robert Capa’s famous picture of a falling soldier shot during the Spanish civil war which has often been accused of being faked, although Capa himself denied this. Fred Morley’s image of a chirpy milkman delivering milk through ruined London streets during the Blitz is on the other hand a confirmed fake. Nevertheless, both are powerful images which reflect a genuine representation of real events.
By contrast, in 2004 the Daily Mirror published fake pictures of British army brutality in Iraq, resulting in the newspaper sacking it’s then editor Piers Morgan. In this instance the intention was less about offering a genuine news story or an insightful perspective on a conflict situation, more about selling newspapers through the use of shocking imagery. Shock, like sex, sells.
But it’s not only the question of staged scenes which cast doubt over the authenticity of photographs. Photographers are often accused of photo-shopping images as if it’s a crime. There was huge debate about truth in photography in relation to Paul Hansen’s winning image of the 2012 World Press Photography Award on the basis that the image had been overly photo-shopped. For a detailed discussion of the controversy, click here. This year again, the debate is revisited in the same vein, with 20% of images being disqualified in the penultimate round due to manipulation in post production.
The fact is that photographs have always been manipulated in some way or another. It is in the very nature of photography to be selective in what is represented in and by an image. If a photograph has been digitally processed to enhance tonal contrast or increase saturation for dramatic effect, that’s no different to dodging and burning techniques used by dark room technicians in the days of processing film and making prints. The extent to which an image is re-touched during this process is subject to endless debate in terms of what is acceptable and where to draw the line. There is no end of debate surrounding fashion photography and the impact that has on image-conscious teenagers with aspirations to look like something that could never possibly be achieved without the aid of Photoshop and the damage that can lead to.
The point is, photographic images are powerful tools and their manipulation has existed as long as photography has. Manipulation here refers not only to the image itself but also its use as a medium to communicate information. If a photograph can lead us to question what we see and in so doing nurture a better understanding of the world and the events that take place in it, that is surely a good thing. Furthermore it can also shine a spotlight on our reactions to those events and help develop a better understanding of our collective sense of morality. The difficulty can be in filtering the good from the bad, the genuine from the fake, especially in an era where so many image manipulation options are so readily available to so many.
We as consumers have become so used to seeing powerful and arresting images that we are becoming increasingly desensitised to them. After Kevin Carter shot his Pulitzer Prize winning image of a starving child in Sudan in 1993 it was used by an international aid charity as a poster campaign to raise awareness of dreadful human suffering and tragedy. I wonder if it would have the same impact today. The fact is, that image was also slightly misleading. The child was starving. There was a vulture in the background. But the child was in a camp where international food aid was being distributed, not alone in the desert as the image might make you believe. And if you’ve been to certain parts of Africa, you’ll know that vultures are as common there as pigeons are in Trafalgar Square.
The success of the shot lies in the photographer’s decisions on how to take the shot for maximum impact in order to tell the story, in this case an undeniably true story of human suffering. It’s precisely that ability to make those decisions that defines great photographers. Sadly, Carter committed suicide only three months after taking that picture.
So while truth may or may not exist independently of a person’s interpretation of what they think it is, and the camera remains a tool used to selectively represent reality, a great photograph is still one person’s moment of truth captured at around 1/125th second.
There are some locations that inspire and excite me every time I go there. Even though the essence itself doesn't change, each time you return to a certain place it's possible to find new ways of seeing it. One such location for me is the British Museum. The Great Court, with it's impressive glass roof designed by Sir Norman Foster has been photographed by thousands of visitors in thousands of ways, but I still find it can offer surprises, in the form of lighting, mood, angle etc. Here are a couple of shots I took there on a recent visit.