When I first started adding images to a blog, back in the summer of 2003, I had no idea about photoblogs, but I soon started to come across them. One of the first I found, and still visit, is Daily Dose of Imagery, Sam Javanrouh's visual diary of Toronto (and occasional trips elsewhere). As best I can tell he's posted an image a day since he started posting on 4th July in 2003 – which is better than I've managed – and I now feel as though I know Toronto, at least partially, despite never having visited.

Anyway, my reason for mentioning Sam is that I often think I should do more to chronicle my own town – Blackpool is a wonderfully diverse environment – and I often choose to photograph the sea, odds things washed up on the beach, and any number of other topics other than the town itself.

So, with a nod to Sam, here's today's offering – the glitzy frontage of the Happy Dayz Arcade in Blackpool, against the backdrop of the seemingly derelict building it inhabits.

I'm not too sure that this visual joke will work for everyone, but it made me smile :-)

And if you're interested, the original is here:

.../archives/beware_of_the_dog.php

I'm having real trouble taking a decent photograph at the moment so have been archive raiding again, though this time I'm posting something a bit more recent than the last two I put up. I took this one about a year ago, in the derelict Flamingo nightclub, facing 180° to this one.

This shot was taken almost a year ago (as part of this set). I was looking through some old shots today and Libby said "ooh, I like that one", so, as I don't have much of anything else to put up at the moment, I thought I'd post I'd do some more work on it and put it up.

One of the things I was thinking about whilst writing my latest tutorial (Toning colour images) was the nature of colour film: particularly, the unique character of different films and how they compare to digital images (which, straight out of the camera, are somewhat lacking in character). The examples I used to illustrate this were constructed with Exposure 2, a Photoshop plugin which can emulate various print and slide films. This isn't something I use on a regular basis, but it was useful for the tutorial, and it did get me thinking about the nature of digital images.

One other aspect of traditional film that Exposure 2 can emulate is grain. Normally, I wouldn't consider adding grain, but I thought it worked for this one – it seems to add a certain ‘grittiness’ that was lacking in the original.

This was taken at the same time as this one, in the office of an abandoned wallpaper and decorating shop, but I didn't post it at the time as I was fairly sure it probably wouldn't get an especially great reception. I've come back to it though, on numerous occasions, because there's something about the various stories that it tells that appeal to me. It's success though, or lack of it, depends on whether any of these stories are evident to you. Let me know.

Update: apologies for the lack of updates, but I don't have any new material to put up. All being well I'll post something on Monday or Tuesday.

You'll probably be pleased to hear that despite having quite a few more shots of dereliction and decay that I could put up, I'm going to try and shoot something different tomorrow, as I sense that you're all getting a bit bored with the current theme ;-)

This is part of an old panel in an even older fire, taken in the now part-derelict Flamingo pub adjacent to the Flamingo nightclub that has appeared in recent shots. Hopefully it will be slightly better received than yesterday's effort ;-)

Here's another piece of detritus from the Flamingo night-club: another fragment of charred and discarded history; another echo from a different time. And don't worry, I don't expect it to be especially well received ;-)

Fingers crossed, normal transmission will be resumed shortly.

If past experience is anything to go by this probably wont be one of your favourites, but I am drawn to this type of shot.

Oh, and this one definitely looks best with the black theme.

I spent some time in the Flamingo nightclub again today, and will be posting some more of the shots over the next few days. If you're interested, the ones I've shot previously are here.

As always, I'd be interested to hear what you think.

I was going to put up a couple of related shots this evening, both taken in the Flamingo (the nightclub in yesterday's shot), but I'm totally bushed and just don't have the energy to finish processing them. So, instead, here's another one from Collins DIY shop – a rather ancient accident book that looked as though it had been hung on the wall several decades ago and not touched since.

I know I said that I had two more shots that I was going to put up from Collins (the part-derelict DIY shop where the last two were taken) but I've decided to hang onto them, mostly because they're definitely worth including in the project, but not so great for a picture-a-day photoblog.

Instead, here's one that was taken on the same trip, but this one is from the top floor of what was the Flamingo nightclub. I have a couple more from the same building but as they're quite similar I'll probably put them both up tomorrow, either as consecutive entries, or as a pair.

This current set of shots made me realise something about most of my recent photography, not in terms of content, but in terms of the circumstances under which they are shot. A lot of the stuff that I post is shot under flat light, of one sort or another – dull days on the beach, portraits with bounced fill-flash, and so on. All these recent shots though were taken under quite different conditions. All were quite dimly lit – this one, for example, was a six second exposure – but in each case the light was directional (albeit diffuse). In this sense the light becomes much more crucial to the photograph in that it becomes a component of the scene rather than just a source of illumination. That sounds pretentious, and I could probably have put it better, but what I guess I'm trying to say is that it was a good experience to spend some time shooting under different conditions.

Oh, and I couldn't think of a title for this one either.

Update: I'll reply to individual comments later on today, but in the meanwhile I wanted to say something about an issue that some of your have raised: i.e. was this staged? Yes, and no. I did move the tray, but only by a few inches to centralise it on the tiles. Had I not done so, in my opinion at least, the shot wouldn't have worked. Arguably, as quite a few of you have assumed that this is a contrived shot, it doesn't work like this either; but it seemed like a good idea at the time :-)

I did think that I ought to be able to come up with a clever title for this one, but I really couldn't think of anything, so if you do have any suggestions please let me know.

Anyway, this is the first of four shots taken in Collins, a former DIY and wallpaper shop, one of the various empty properties I mentioned the other day.

Of the ten shots in this small series, this and tomorrow's are my favourites so I'll be interested to hear your thoughts on both.

This is one of the houses on Buchannan Street that's scheduled for demolition at some point in the reasonably near future, and beyond that I don't have much to say about this one, other than that I think, in some ways at least, it tells its own story.

This is the first of nine further shots taken during our trip to visit various semi-derelict and boarded up properties in the northern area of Blackpool: The Flying Handbag (a former pub), The Flamingo (a nightclub), Collins (which sold paint, wallpaper, and so on), and a number of private houses. This is the second shot taken in one of the houses; tomorrow's is from a different house, the four after that are from Collins, and the remaining three are from The Flamingo.

Initially, I'd placed this one in my reserve pile (the one I visit before raiding the archive for stuff I've previously rejected), but Libby said I should put it up because it seemed so British ... which got me thinking. Has Spam managed to invade the rest of the world as thoroughly as it once dominated Great Britain? When I was at school in the 70's, the most vile lunch we could possibly be served consisted of spam fritters: reconstituted pork and ham served in a luke warm and greasy batter. The thought of their glistening and greasy pinkness can still turn my stomach over 30 years later.

So, have the rest of you come across this culinary delight?

Oh, and photographically speaking this is probably my least favourite of the next nine shots, but watch out for the one I'm putting up next Thursday as Libby says it's one of the worst shots I've put up in ages. Personally, I quite like it, but for reasons other than its visual appeal.

And finally: I used to update chromasia at around 9.00pm GMT, but the last few weeks my posting times have been all over the place. For the next nine days chromasia will update at 9.00pm GMT, that's 8.00pm British Summer Time.

In the description for this entry I mentioned that we were currently undertaking a long-term project to document the social, cultural and material changes that will take place in Blackpool over the next few years. This shot is part of that project.

Today, Libby and I (and an MA photography student from our local photography college) took a preliminary trip around some of the boarded up buildings that will eventually be demolished when the Talbot Gateway is built. The trip was arranged/coordinated by Damian Masters from GVA Grimley, Martin Turley from Blackpool Council and Kate Staley from ReBlackpool. Thanks.

During the day we visited The Flying Handbag (a former pub), The Flamingo (a nightclub), Collins (which sold paint, wallpaper, and so on), and a number of private houses. Hopefully we'll be able to go back to all of these locations

This shot was taken in one of the private houses which looked as though squatters had lived there for a while. In the room where this was taken there were various tins of food – some full, some empty – a sleeping bag, some spectacles, a pair of trainers, three or four cassette tapes, and various other abandoned items. The one that caught my eye though was the letter in the left frame of this image.

For me, it seemed incongruous. I don't know what I expected to read, but, in the context of the abandonment and decay that surrounded it, it seemed almost infinitely sad. I've included the text below.

Dear George.

Do you know when I said we could have sex I don't think Im ready for that.

So instead if Im stopping at yours all I would like is for us just to cuddle each other.

Cause when we do make love I won't it to be special I won't to feel the mood so what I would like is candles. But you can make me and you something to eat then after tea we can retire to the bedroom thats were we can cuddle up together and you never know we could end up making love. I wouldn't won't to come to yours tomorrow night. I don't make make a habbit of sleeping with men on the first date but for some reason I won't to make love to you. And we can eat strawberrys cause that is what couples do they feed each other strawberrys its supposed to make you randy. But when I do come I might be to shy to make love to you.

Can we go places cause he never took me anywhere. If you don't won't me to come tomorrow let me know. Im romantic are you?

I would like chocolates sometimes. Id like to go to town with you and mcdonalds sometimes. If you won't me to come tomoz I will do. I really hope you feel the same as I do.

write back

xx

keep smiling

Over the next few years the area in which we live will probably see quite a few changes. I think I've previously mentioned the multi-million pound plans to regenerate the seafront, but I don't think I've talked about the Talbot Gateway. The Gateway will centre on Blackpool North, our local train station, which is currently functional and utilitarian, but not especially inviting. It will also encompass the bus station and multi-storey carpark, which do attract people, but you wouldn't want to bump into them on a dark night. When the Gateway is finished it should include a range of new buildings, gardens, walkways, and so on.

So, over the next few years, there will be a number of changes that affect our environment and I intend to chronicle some of the social, cultural and material changes that take place as the Gateway makes the transition from plan to actuality. This shot is a part of that series, not because of its location (though it's situated fairly close to the station), but because of the text; i.e. the Brunswick ward is one of the areas that will be directly affected by these plans.

Oh, and don't worry if I don't put anything up tomorrow night. At the moment, I don't have anything remotely worth posting. I am going to try a few shots this evening, and may have a bit of time tomorrow, but I'm out for most of tomorrow evening so may not manage to get anything up. If I don't, there will definitely be something on Saturday.

I've walked past this sign on numerous occassions, and often wondered if anyone other than the clinically insane would be tempted to buy one, but as Harmony wandered past my office as she was getting ready for bed her only comment was "mmmm, donuts, can I have they ones?". Taste is clearly subjective ;-)

If you read my description of yesterday's shot you may already have seen this image as I linked to it within that entry. If so, don't worry about it. The reason I put this one up though is because it's the one I should have posted in the first place, rather than the three images as separate entries. As I processed them, I guess it was this mode of presentation that I had in mind; i.e. alongside one another, and I should have just posted them that way and linked the larger entries from the description.

Anyway, all your comments over the last few days have given me a lot to think about in terms of both shooting and presenting series of related shots, and as this approach is definitely something I'm going to be doing more of I do realise that I need to think through how best to present them first.

So, I think we'll draw a line under these ones, borders and all ;-)

Well, the majority of you can breathe a sigh of relief as this is the last in this series ;-)

If you'd like to see them all on one page you can view them here:

.../archives/viva_blackpool.php

And there's another set of them here (this time, side by side):

.../archives/viva_blackpool_2.php

If you only follow one of those links, take a look at the second as it displays these as I'd like them to be viewed; i.e. as a sequence of related images. And in retrospect, that's probably the only shot I should have posted here, with links to the larger versions. You live and learn ;-)

There are probably a few more things I could say about this mini-project but I think I'll conclude by saying that I might develop another area of chromasia for posting this sort of material; i.e. more experimental or project based stuff. One of the main reasons for this, other than the fact that most of you weren't exactly knocked out by these ones, is that I'm moving towards shooting more material that would benefit from a backstory: maybe not as detailed as these needed, but definitely some sort of context/background info, and so on. For those of you who read these descriptions, that's not a problem, but the majority of chromasia's visitors don't. All of which raises a lot of other questions about the nature of our audiences (both in terms of their expectations and ours), but those are questions that I'll leave for another time.

Anyway, I normally ask you to let me know what you think, but I suspect I already know ;-) That said, if there is anything we haven't covered, please let me know.

Update: On a totally unrelated matter: does anyone know of any good German photoblogs? I have a colleague who's working on a news piece, for which he needs some links to good German photoblogs. I would search this out myself, but really don't have much time over the few days so would be grateful of any information.

Having made the decision to post this small set of images as three separate entries, I think I'll stick with that rather than putting the last two up together, not least because it gives us another 24 hours to discuss some of the things that I think are relevant here.

The first thing, and this is probably the most important, is that these aren't working especially well without the context that would make them more intelligible. Well, I'm assuming that the context I have in mind will make them more intelligible. After reading it, you can tell me ;-)

Anyway, here's the backstory …

Those of you who live in the UK (and regular visitors to chromasia) will know that Blackpool doesn't have an especially good reputation. It's seen as tacky and down-at-heel: home of 'kiss me quick hats' (or worse), donkey rides, drunken and marauding hen and stag parties, cheap and tatty souvenirs, lap dancing clubs, pole dancers, massage parlours, and so on … and that's by no means an exhaustive list.

Over the last year or so the local council have spent a good deal of time and money working towards cleaning up Blackpool, both in terms of its image and in the more material sense of putting a lot of money into urban regeneration projects, a new seafront, and so on.

And in many different ways I'm involved with these projects. First, we live on the edge of town, within the regeneration area, so many of the changes the local council are working towards will affect my immediate surroundings. Second, chromasia (as in the company that my wife and I set up last year, rather than just the blog) is beginning to be involved with some of these projects, especially in terms of discussions to use some of my work to promote a better vision of Blackpool. And third, I'm personally interested in documenting these changes as they happen, both in terms of visual content (the old deckchairs on the seafront, for example) and in terms of historical process.

All of which brings me to these three images ...

When I saw these, lying on the floor, covered in bits of dust and rubble, my immediate thought was they're metaphors for how the local council wish Blackpool to be seen – their vision for the future. In yesterday's shot the tower, perhaps Blackpool's best known icon, was placed alongside a pole dancer. In tomorrow's the association is between another lap dancer and one of Blackpool's more recent landmarks, the world's largest mirror ball. In both instances the association draws attention to the seedier side of Blackpool's night life rather than any of the more positive aspects of the town. So, that's one of the reasons I like these images: they capture a common perception of Blackpool (in the images within the image), but the image as a whole shows this as something cast aside. I guess, as I saw it, they're a good metaphor for the social and historical changes currently taking place within my town.

And that brings me onto the border I've used on these images. All three of them have a similar border, and all have the same handwritten text (no, it's not a font, I wrote them). My reason for adding it was that I wanted these images to look like exhibits, almost as though they'd been taped to a wall and labelled (hence the rather grungy look). As for what they exhibit: maybe they're simply exhibits of the seedier side of things, maybe they're exhibits of the changes I mentioned above. Either way I wanted to frame them in this way to draw attention to the fact that they're something that can be held up as testament to something else (seediness, historical process, whatever). The frame, in this instance, adds another layer of meaning (at least that was my intention).

Anyway, that's the backstory. Does it alter the way you look at this one, or yesterday's, or doesn't it make any significant difference to how you see these images?

My second most commented entry, with 171 comments, is SG-Blackpool, and when I posted it I was really pleased with it. Since then though, the goal posts have moved a little, and from where I'm stood now I can appreciate that it's striking, technically good, and quite surreal. But, and this is becoming an increasingly big 'but' for me, it doesn't seem to say much. And that goes for a lot of the early stuff I posted: eye-catching, but mute.

And I guess this ties back into what I was saying yesterday regarding posting a series of shots that tell a story rather than just an image a day that may or may not communicate something to you.

Anyway, today's shot is one of three, shot in the empty hotel I mentioned yesterday. All three are broadly similiar – a pole dancer, the same style of border, a dirty floor beneath the banner – and all three, to my mind at least, offer much the same opportunities to think about the stories they might tell. And that's where I want to leave it for today: as an invitation to tell stories ... provoked by this image. I have my own ideas, which I'll share over the next day or so, but for now I'd much rather hear what you think.

I often hesitate to post shots such as this because a) they're not immediately attention grabbing, and b) rely on the backstory to provide meaning. In this instance, the story is as follows:

When I was young, probably some time around 1968, I remember my grandparents and great-grandparents bringing myself and my sisters to Blackpool. Like countless hundreds of other people, we hired deckchairs and sat on the beach, my granddad wearing a knotted hankerchief on his head. As we sat there he would say "if you dig here", pointing to an area of sand near to his deckchair, "you'll probably find some money. It's buried all over Blackpool beach". And sure enough, if we dug for a while, we'd unearth an old penny, or maybe a threepenny bit.

The deckchairs were hired from the promenade and probably had been for at least 60 years prior to my childhood visit. And they can still be hired now.

However, Blackpool is currently re-engineering its entire seafront to include terraced gardens, new buildings and various other toursist attractions. I suspect, when the work is complete, that sights such as this – a group of ageing, tethered deckchairs – will become a thing of the past.

Oh, and John put up a shot of the same deckchairs yesterday.

On a totally unrelated matter: what would you like tomorrow? You have a choice of Elvis appearing in a puff of smoke or Batman swinging through the streets of Blackpool. The choice is yours :-)

I forget which night club these doors belong to, but suffice to say it's probably one of the less genteel ones ;-)

Here's another of the shots I took while out wandering with John the other day. I have two more to put up, after which I'll need to shoot some new material.