Semiotics Of Photography: J

J is for Jane

Holding on, however absurd.

Semiotics Of Photography: I

I is for I(Eye)-Balling

If high-balling doesn't suit you, try I(eye)-balling.

Semiotics Of Photography: H

H is for Highballs

Something to consider when there's been a balls-up with the high-up at work.

According to Staffordshire Gritstone - The Roaches: The Definitive Guide (2009) edited by Niall Grimes:

'If a boulder problem occurs with a full grade in brackets opposed to just the technical grade, this means it is a highball problem, with aspects of a route about it. That is, you might not want to fall off. . . Use your sense.' (Grimes, 2009, 12)

Semiotics Of Photography: G

G is for Greg Lucas Connects

The most original and erudite commentary on photography I know. Free-thinking, free-wheeling.

http://greg-lucas.blogspot.co.uk

Semiotics Of Photography: F

F is for Fish (and Photography)

I maintain there remains a place in the multiple, myriad histories of photography for a history of fishing, fish and photography. . .

Image from M Haworth-Booth, 1997, Photography: An Independent Art, London: V&A Publishing, p56. (Royal Engineers US/Canada Border Survey, Columbia River Salmon Caught at Kettle Falls, 1860-1.)

Semiotics Of Photography: E

E is for Education (A Photographic Education)

Image taken from Marina Warner, 'Parlour Made', Creative Camera, Vol 315, April/May 1992 pp28-32
(Kate E Gough Album, V&A Collection)


Originally inspired by an enlightened ideal (art for art's sake), it was latterly hijacked by career aspirants.

Semiotics Of Photography: D

D is for Darkroom

A place for development, transgression, alchemy.

The analogue photographer's final sanctuary.
(Until our Alma Mater, the University, dismantled it.)

Image from (ed) Jay, B (1994) Some Rollicking Bull: Light Verse, and Worse, on Victorian Photography, Germany: Nazraeli Press