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Month: February 2019

My New Camera: the Best!

I have many writing works in progress which I will be publishing, without marketing or hoping for many readers. I’ll be writing shortly about this.

But as one of these projects involves photography I have made a further increase in my debt by splashing out on a Sony RX100 Mark 3. It’s a gem, is highly recommended everywhere, including by professionals. Originally introduced at £800 in 2014, as is the case with all electronic and photo goods, the price keeps dropping as manufacturers bring out new versions by the year. Th original Mark 1 is available for £300 and this Mark 3 can be had for around £450 (unless you want to splash out £750 for the Mark 6!).

I needed a replaceent for my Nikon Coolpix which costs around £60 (and if you want the best cheap, simple point and shoot you can’t do better

This new camera of mine has:

  • a ‘very fast’ lens. At f1.8 it is good for low light conditions.
  • an extremely advanced sensor for a camera in this class which makes for sensitivity and reduces noise.
  • a VIEWFINDER! I don’t like having to use the screen on the back of a camera. This has a very high resolution viewfinder.
  • a very wide 24 equivalent lens.
  • The screen, though is very bright and hinged through 180 degrees for shooting from many angles.
  • a flash unit that tilts so that you can bounce flash from ceilings for a softer image.
  • inbuilyneutral density filter for those difficult lighting conditions.
  • fully manual if you wish, aperture/shutter priority etc.
  • large range of customised settings.
  • function control on lens barrel

I bought it for £449 which came with a case and a very useful grip to attach.

It’s small and neat, and carry anywhere. I do have a big, heavy DSLR ith three lenses but while this will deliver better options, I’m wondering whether I should sell since the difference in quaityof images is negligible.

The camera dispenses with those 40x superzoom cameras you can get much cheaper, and only has about 3x zoom, but those big zoom cameras are OK (although the more you zoom the more the image deteriorates), like cameras offering large sensor profiles are often disgising essential weakesses. The lens is paramount,  and the Zeiss on the Sony is excellent.

It will make me a better photographer out and about in the ordinary world, the unobserved, th streets, the forgotten…. And it will make me a better writer.

Writing and Photography

Even a brief look at the relationship between photography and literature suggests affinity. For instance, both take wide views or closeups. The serious photographer, writer or poet is always looking at the world, its people, at the relations between people and things. Both know that they are representing the world, can never present it transparently as if unmediated by their art.

Writers and photographers are fascinated by light and shadow, the positioning of people and objects, the locating of fore-, middle- and background. Both are highly skilled in their media. No matter how skilled, they require that singular element, the unique vision or voice that is their creativity.

Sometimes the connection between photography and literature is explicit. The imagist poetry of the early 20th century, the imagery of the much older haiku, recall the importance of imagery in literary and visual arts.

Words and photographs frequently appear together. They may complement each other in a documentary story, or a single image may be anchored to a caption.

A single photograph tells a story; a collection makes, perhaps, a photo-essay. A more intense collection produces the moving image, cinema. Early cinema used forms taken from novel genre; later literature took forms from filmic genre. We know what is meant if a novel is described as ‘cinematic’: as cultures develop, different forms interpenetrate: we learn culture without diplomas.

The writer W.G. Sebald produced not only writing that is stunningly visual, he supplemented it with photography. A piece of writing or a photograph is always ghostly and never fixed. In a different level of thinking, fiction occurs over time while a photograph ‘captures’ and isolates a moment: this is partly true but it is partly true of the nature of media rather than the affective dimensions.

I think a writer may have many other interests from collecting stamps to looking after an allotment. For me, writing is my main focus but my photography hobby does enhance my ways of seeing and my ways of looking. The two activities meet as I work towards supplementing the text around The City of Dreadful Night with images, including photographs I have made.

My Dark Places

Melancolia Durer

We’ve all got our dark places haven’t we? One of my current works in progress is aimed at publishing a new illustrated version of James Thomson’s The City of Dreadful Night, more of which below. While it will contain a brief biography of Thomson and some notes, the main part of my introduction will be a consideration of what draws us and artists and writers to the darkness, the darkness within and without.

I think by the time I was ten I’d read all of my older sister’s collection of Pan Horror Stories, and most of her Dennis Wheatley books. By the age of eleven I think I’d read her Encyclopaedia of Witchcraft and Demonology more than once.

Satan in Milton’s Paradise Lost still greatly appeals to me – certainly much more than the pale and ghostly God who banished him. I wouldn’t say Satan was a role model but I loved his way with words: “Evil, be thou my Good!”, “Better to reign in Hell than serve in Heav’n” and his philosophising:

Farewel happy Fields 
Where Joy for ever dwells: Hail horrours, hail  
Infernal world, and thou profoundest Hell
Receive thy new Possessor: One who brings 
A mind not to be chang’d by Place or Time. 
The mind is its own place, and in it self 
Can make a Heav’n of Hell, a Hell of Heav’n. 

Yes, I was a strange child. Older, in bedsitter land with Leonard Cohen, reading James Ellroy’s My Dark Places, I also took to frequenting an ancient graveyard alone. At night. Especially when it was misty…..

The City of Dreadful Night

James Thomson’s poem (not to be confused with a Rudyard Kipling work with the same title) is bleak indeed. Thomson himself had a bleak life. Intelligent, sensitive and forsaken, a depressive and alcoholic who died an agonising death. Parallels with Poe are clear (though there are not as far as I know any literary connections). You can delight in the poem online – it’s in the public domain. I’ll be publishing it as I said with the main part of the introduction being directed less to the poem itself than to the ‘culture of melancholy’ from the Romantic period onwards, with attention to such jolly folk as Baudelaire and to the urban spiritual dystopia of Eliot’s Wasteland

The book will be illustrated with images, some from artists, some from my own photographs taken in the city of Glasgow.

Here’s a little from near the start of Thomson’s poem to put you in the mood:

Surely I write not for the hopeful young,                  

Or those who deem their happiness of worth,

  Or such as pasture and grow fat among

    The shows of life and feel nor doubt nor dearth,

  Or pious spirits with a God above them

  To sanctify and glorify and love them,                     

    Or sages who foresee a heaven on earth.

  For none of these I write, and none of these

    Could read the writing if they deigned to try;

  So may they flourish in their due degrees,

    On our sweet earth and in their unplaced sky.            

  If any cares for the weak words here written,

  It must be some one desolate, Fate-smitten,

    Whose faith and hopes are dead, and who would die.

  Yes, here and there some weary wanderer

    In that same city of tremendous night,                   

  Will understand the speech and feel a stir

    Of fellowship in all-disastrous fight;

  “I suffer mute and lonely, yet another

  Uplifts his voice to let me know a brother

    Travels the same wild paths though out of sight.”        

  O sad Fraternity, do I unfold

    Your dolorous mysteries shrouded from of yore?

  Nay, be assured; no secret can be told

    To any who divined it not before:                        

  None uninitiate by many a presage

  Will comprehend the language of the message,

    Although proclaimed aloud for evermore.

Review: ‘West is San Francisco’ by Lauren Sapala

Another masterpiece from Lauren Sapala. It washes back over her first in the trilogy, ‘Between the Shadow and Bo’ and I see that, gritty and alcoholic as that first novel is, the central theme is not addiction to a substance but the relationship with the Shadow, that dark part of the soul which is twin to the light.
The protagonist and her boyfriend set up in San Francisco and she has stopped drinking completely. Instead she seems to become a ‘workaholic’. All seems reasonably good until she comes up against a woman who is both nemesis and mirror. She loves and hates her. Her boyfriend says she has become addicted to her. No more story here: suffice it to say that the author handles the narrative with flair and expertise.
As in the earlier novel, ‘West’ is saturated in colours and shades, light and darkness, executed with stunning imagery. Sapala’s use of metaphor is singular and exquisite. Her observation of the many characters in the book is spot on. Her style is concise and compressed, never a redundant word.
There is a tone of naturalism above which, with no boundary, hover and shimmer dreamscapes and a transcendent sense. I’m lost for words to describe some of the writing techniques which culminate in a stunning finale.
Maybe this could have gone at the top: both books are very, very funny despite the elemental depths.
To a large extent the novel is about the process of writing itself. And there’s one sentence near the end which is a jewel any author will treasure.