This was a bit of an opportunistic photograph. If I recall correctly, we had gone looking for coffee and pastry (or was it lunch?) in Bath. We heard about a little place that was supposed to be popular and headed that direction. It was just a bit outside the main tourism areas of the town, and we were starting to see some places that were a bit less oriented to out-of-town visitors.
Continue reading S.K. Plastering And Developments
I made this photograph the English town of Shrewsbury. (More about that place below.) If a photograph is “about” something, this one is about more than one thing. To be sure, it is a record of a specific spot in a particular town, a doorway to a building with a sign for “Alfred Mansell & Co. Auctioneers.”It is perhaps a record of some history, too, given the old brick walls, the weathered doorway, and the cobblestones at the bottom of the frame. But most of all, I think it is about color, the “temperature” contrast between the warm tones of partially-sunlit bricks and the very cool blues of the doorway in shadow.
Continue reading Blue Door
On the Isle of Skye, and for that matter all over Scotland, there are sheep. A LOT of sheep. What cattle are to the American west, sheep are to Scotland, or so it seems. The sheep and their abundant pastures are a significant component of the Scottish landscape — you encounter them everywhere when you walk or drive. I’ll let you speculate on the purpose of this road sign for a moment before explaining… (If you read this post where the next paragraph is already visible, pause and see if you can figure it out.)
Continue reading So That Sheep May Safely Graze
One thing that appeals to me about street art (and not everything about it always does!) is how it “lives” where it was made. It is created by people using a variety of media: paint, ink, paper, glue, you name it. They leave it behind on its own where it deteriorates, may be defaced, gets added to, and eventually is covered by someone else’s creation. Someone creates it, but the eventual effect is often out of their hands.
This sign, or what remained of it, was taped to a steel roll-up door along a Brussels street. The “NOW’ remains emphatic in all-upper-case and red, but what it was that was so timely is a mystery since the upper portion has been ripped. A closer look reveals a few more details that may (or may not) provide some clues.
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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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