A table setting with yellow vase projecting an inverted image of the palazzo opposite our room. Shot with the gorgeously sharp Canon 100mm f/2.8 macro lens, it's a technical shot to illustrate a book which turned into a little more.
In our backyard, under the deck, looking through a french window towards the neighbour's house. The layers of light and colour, of sharpness and blur express my delight in the wealth to be found in simplicty.
We had moved into an empty apartment - no furnitutre, no curtains, no clutter. But we had a muslin sheet and one night it was easier to drop the sheet in front of the flowers than behind. In the morning, this gorgeous sight greeted us.
Bamboo in a garden back-lit by a lamp in a house in west London reminds me of ink-and-brush painting, albeit with tipsy horizon and spaces. I love how a small re-focus of attention uncovers the grace and beauty of a scene that is passed by day in, day out.
The stuff of children's toys and gardening gear came together with abundant growth to create an perfect homescape: full of texture, rhythm and tonal subtlety. Shot on my lovely Rolleiflex SL66 with 'front tilt' engaged to obtain extensive depth of field.
A mobile of paper birds made for my daughters was a joy at first but gathered dust after a few months. Then one day, the sun poked a finger through a window and brought it, and the normally dark stairwell, back to life. Shot originally on my much-loved Rolleiflex SL66 with 50mm lens.
One of the pleasures of working at home is being able to watch light all day. Every day it takes a different route; every day brings sometimes a tiny, sometimes substantially gesture. A brief few minutes of afternoon light catches these curtains. A nicely blue sky makes the shot complete.
A favourite shot of Jim Vivieaere's, our late artist and curator friend. He always had a beautiful flower on his table, and within minutes of our turning up unannounced at his door, he'd have rustled up a tasty cookie or treat.
Venetian blinds were invented by people who understood light. That's why I love them so much; we have all over the house. This is my ‘nature table’ of beach combings. On Sony A900 with Zeiss 24-70mm f/2.8.
Another fleeting moment of subtle lighting that occurs only a few days a year: a late afternoon shaft of light finds a way between walls and trees to light a patch on the wall. Be there - and hope the sun is not clouded over - or hold your peace.
By happy chance, my French window is about half way between the neighbour's wall and our fence, so even with a f/1.8 aperture, both are fairly sharp while other elements are very blurred.
One of the beauties of working with mirrors and glass is that extremes of scene luminance are evened out, because the glass is semi-reflecting so images of bright exteriors are attenuated, which means it’s easier to expose and capture the full range.