An experiment in light and colour, this. The photo (an extreme close up of a bust of Joyce) was shot in golden evening sunlight, but I wanted something that looked a bit more like it was taken at night, under artificial light, because that seems more fitting for one of the fathers of modernism.

(Yes, I know that modernism isn’t strictly about artificiality. Go with it, please.)

I’d be curious to know how sucessful you think I’ve been with this one.

I’d also like to know what emotions you think it evokes, and whether you think it does Mr Joyce a service in that regard. This is one of those shots that I think will either work very well, or fall flat on it’s face, and I’d like to know which you think I’ve done.

A bust of James Magan, on St Stephen’s Green in Dublin. The first of a few holiday pictures – I thought I’d try and present them in roughly chonological order…

Not a lot to say else. I’ve taken some of the green out of the foliage, to make the bust more vivid

I change my mind every other minute about the curls of red in the foreground. One second I like them, and the colour contribution they make, the next I’m cursing myself for having them in the foreground out of focus like that, getting the way of the lines of the girl’s face.

Regardless, though, I love the colours in this one. I’ve made the blue a little darker, to better bring up the pale skin, and I’ve added a bit of extra saturation to the reds – if that thing is going to be in the foreground, then it’s bloody well going to jump…

The first of well, at least two, possibly more, shots from the Notting Hill Carnival. I’m pretty sure he had no idea this was being taken, and the look on his face is definitely the one he was surveying the carnival with.

I’ve started shooting RAW images, rather than the hi-res jpegs I’ve been using up to now, and yes, I know I should have made the switch sooner, because fuck me can you get so much more out of them… It does make it rather harder for me to explain what I’ve done to this image, though. In short, I’ve leeched a little colour from it, and darkened the shadows a bit. I still can’t decide if I’ve overdone it on the right hand side of his face, though.

One of those pictures that suggests a story. The truth is more prosaic, as always, and so I shall leave it unsaid.

I’ve added a very, very slight blue tint to the whole image, just to cool the wall, and make the heart fractionally more vivid, and I’ve made the shadows a little darker.

Here’s an unusual one for me – a portrait. It’s a shot of my cousin’s boyfriend, taken at a family do a couple of weeks back. He’s a soldier, although I forget what rank he is, and indeed, what regiment he’s in, but it’s something moderately impressive. He’s the only man I’ve ever heard describe Prince Philip as a “bloody good laugh”.

As is obvious, this is quite heavily post processed, for tint, shadows and a bit more fine detail, but I haveto say, I’m delighted with the result. I’m normally very unhappy with how my photos of people come out, but this one got exactly the effect I wanted.

I’ve been working on some lomo-style pics recently, and this is one of the ones I’m happiest with. It’s not the most exciting of pics, but I like the heavily saturated colours, and the way the brightness intensifies as the lines lead the eye along the wall.