Recent Posts

Photographing Churches

18 September, 2015
The churches and cathedrals of the United Kingdom offer many opportunities to the photographer. They are not always the easiest location, for example the half light that is so beautiful can also make it hard to photograph without a tripod, but they offer many rewards. To walk into a church is to feel its history and often (though not always I find) its sanctity. The solidity, the acoustics, the scent of wood polish and most of all the light, identifies the space like no other.

The Little Musk Deer

15 September, 2015
I suspect that for as long as there have been people there have been stories told to capture their imagination, echo their ideas and dreams and help them understand their fears. Stories often help to suggest and frame that which we cannot touch, but which we nonetheless feel is true. I have a lot of sympathy with Philip Pullman when he writes: After nourishment, shelter and companionship, stories are the thing we need most in the world.

On the street ...

10 September, 2015
One of the best ways Street Photography can be defined is “photography that features the human condition within public places”. Commonly however the term ‘Street Photography’ refers to what might be described as candid photography, and is usually seen as different to documentary style work, despite there being considerable overlap. The latter tends to set out with a determination to photograph a particular event or social condition (for example the excellent work of Dorothea Lange during the Great Depression), whereas ‘Street Photography’ is more spontaneous.

It’s not just another day

21 August, 2015
In an earlier post, on a Suffolk walk, I mentioned my ingratitude for not fully appreciating the gift of a beautiful morning. In many ways we find ourselves in a time where the certainties of established religions have less of a hold on us, and yet so many of us still perceive (almost like a fragrance that we can’t name) a call to the spiritual. That call provides us with a moral compass of sorts, but also has a bias towards beauty and truth.

Reflecting on reflections

19 August, 2015
For whatever reason, I’ve always been drawn to incorporating reflections in my photography, and in this I know I am certainly not alone. One of the most well known photographs with a reflection was that taken by that astonishing master of the photographic art, Henri Cartier-Bresson, recording a man leaping over (or into) a puddle. The photograph, entitled Derriere la Gare Saint-Lazare was regarded by Time Magazine as the ‘Photograph of the Century’.

A walk in Suffolk

17 August, 2015
I recently enjoyed an early morning walk near Minsmere in Suffolk. The land was touched with a heavy dew and the silence seemed deeper than usual, the bird song louder, my presence more accepted. The stillness encouraged the recognition of connectedness, and it seemed that my sense of awareness and anticipation, time itself, was more luminous and authentic. I am sure many of you will recognise the feeling I am trying to explain and would seek, as I do, to encourage it’s presence in their life.

Creating the composite 'Mariabronn'

3 August, 2015
As well as being a keen photographer, I have also more recently taken an interest in creating photo composites. I won’t repeat what I’ve already written about this art form, but would recommend anyone interested to have a look at my reference post on this subject. I hope you find the background and links to resources interesting. What I wanted to do in this post is talk a little more about he process I went through in creating my latest composite which I have entitled ‘Mariabronn’ (the name of the monastery in the book upon which I based my work).

Photographic compositing - an introduction

31 July, 2015
Any reader of this blog will be aware of my interest in the photo composite as an art form, and it is certainly an area I wish to develop personally and write about more. This post is intended both as my “central reference” about photo compositing, and an account of my journey in trying to employ the technique in my own creative expression. I hope that it will be both interesting and useful for others.

The power of the triptych

27 July, 2015
The creation of visual art is widely varied, not only in terms of the medium used, be in a digital sensor or oil paint, but also in the final form in which the artist presents their work. Although the single painting, photograph or composite has always been my favourite, I have also been drawn to works of art made up of different images arranged together, in particular the triptych. The triptych (traditionally a painting made up of three sections) originated from early Christian art, and was primarily associated with altarpieces, although over time the form was used by artists in a range of contexts, including sculpture and paintings with non-religious themes, such as ‘Carnival’ by Max Beckmann.

Flat, soulless and stupid?

20 July, 2015
In November last year, writing for The Guardian newspaper, Jonathan Jones wrote an interesting article entitled “Flat, soulless and stupid: why photographs don’t work in art galleries.” His main point was that while photographs are many things, they are not suitable for hanging in art galleries in the way paintings are. It is hard not to reach the conclusion (although never directly stated) that Mr. Jones might even consider that photographs aren’t actually art at all.


About and Contact

My name is Simon Jones, and I live in the north of England. This site is where I write about photography, spirituality and assorted (but usually related topics). Thanks for visiting.

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