Monday was a good example: the weathermen had suggested that we might be looking forward to a few days of clear but cold n' frosty weather. Monday fulfilled that promise and, with the autumn trees looking like they had been spray-painted with such incredible - almost gaudy - golds, reds, yellows, etc, I was savouring the thought of taking my camera and introducing it to fresh-air (it hasn't had much of that this year). I was busy Monday; couple of things in the morning, then coffee with my mate Tom Thomson in the afternoon followed by another appointment in the late afternoon. But the TV weather people had said the weather would remain the same for the first few days of the week, so I planned a walk on the Union Canal for early AM on Tuesday. And what happened: murky, damp and - visually - almost impenetrable fog-come-low-cloud.
It was almost inevitable, of course, as trying to nail down the weather this year has been a nightmare. I'm sure all the weather-boffins at the BBC must be on Prozack, and they do seem to spend the first few seconds of each forecast apologising for the weather.
So, with my trigger-finger decidedly itchy, I packed up my kit - along with some fruit and fruit bowls from the kitchen - and headed off to the studio to indulge my passion for still-life's.
Making up the 'sets' and composing these pictures is, I find, really theraputic; hours seem to slip bye while I'm engaged in this stuff. My thing just now is using a frame to well, I suppose, 'Frame' the picture, then cut out all the exterior stuff in post-processing until it kinda looks like a wall-hanging. Leaving a little of the subject to fall over the physical frame offers the viewer a semblence of a third dimension. I haven't done an awful lot with it yet, but I'm hoping it'll be just nutty enough to rival Tom Thomson's 'Lightbulb' pictures :)
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