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Room

Northern Quarter. Back street. Tuesday. Back of a tarmac van. Steam coming off the drum. The Ricoh took about a second to think about it.

Agfa 200. 35mm.

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Studium: a fairground wheel, an afternoon, two strangers using the same bit of pavement.

Punctum: neither one knew the shutter was open. They're already gone — gone before I'd even wound the film on — and now they're stuck in the same frame, doubled together, two people who never met and never will.

Barthes called the photograph a kind of haunting. Here's mine: two ghosts, walking past each other forever, neither one looking up.

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Something disturbed the water. I waited to see what came back.

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Everything is becoming something.

The tree doesn't rush it.

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The spade does not perform. It simply is — and in being, it punctures.

Barthes wrote about the photograph as a certificate of presence. Not this happened but this was here. The spade was here. The rubble was here. The orange handle — that specific, almost violent orange — was here, catching light on a day that no longer exists. The studium gives you the scene: labour, post-industrial space, the grammar of working life. But the punctum is that handle. It wounds without trying. Too bright. Too present. A colour that has no business being so alive in all that grey.

And then the absence. The hand that held it. The body that drove it into ground. The photograph is always, Barthes said, a message without a code — and what this one transmits, mutely, is the fact of a person who is no longer in the frame. Was never in the frame. Left only this: the tool, the rubble, the shadow doing the work a figure would have done.

We are looking at a still life. We are looking at a trace. The difference is smaller than it appears.

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"When I walk and shoot, I'm not an observer looking in. I feel the weight of what economic neglect does to people — what poor education, poor opportunity, poor luck does across generations. The camera is just how I carry that." It is the life I was born into.

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