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I took the Christmas fairy lights out of their box, and installed them on top of the shelves.
I love the warm & festive light they bring to the creative space, and to the whole living-room. (as my space is in one of the living-room's corner)
Lots of WIPs at the same time, please forgive the mess.
Nov 14th 2009
Step into the rustic charm of a traditional Japanese pottery workshop. This image captures the exterior of the workshop, featuring a wooden structure with sliding panels and a signboard above the entrance with Japanese characters. The signboard adds an authentic touch, indicating the artisanal nature of the space. Outside the entrance, a large ceramic pot filled with vibrant yellow flowers and a small tree bring a pop of color and life to the scene.
The interior, visible through the open sliding panels, showcases more large ceramic pots and umbrellas, hinting at the craft activities inside. The combination of natural wood, ceramic art, and greenery creates a harmonious and inviting atmosphere. This setting highlights the cultural and artisanal aspects of Japanese pottery making, blending tradition with artistic expression.
The workshop’s design, with its simple yet functional architecture, reflects the principles of Japanese craftsmanship—emphasizing natural materials, attention to detail, and a deep connection with nature. The presence of the large ceramic pots and tools suggests a space where skilled artisans shape clay into beautiful and functional pieces, continuing a craft that has been practiced for centuries.
Whether you are a pottery enthusiast or simply appreciate traditional Japanese culture, this workshop offers a glimpse into the world of Japanese ceramics. It’s a place where creativity and tradition come together, providing a tranquil retreat for those who seek to explore the art of pottery making.
Sony held their Creative Space event at the California Academy of Sciences in Golden Gate Park where people could try out their new A7 V mirrorless camera and several of their lenses.
The event included photowalks in the park with a model (instagram id "lannie_lane"). I'm not really a portrait photographer, but I gave it a try and managed to capture a few good images, two of which are posted here.
These jars used to hold green asparagus, and I have re-purposed them to hold my stash of buttons, sorted by colors. (March 31st 2009)
The tall tenement at 2 & 4 Albany Street belongs to the earliest phase of Edinburgh’s Second New Town, constructed around 1801–1803 as the city expanded north from Queen Street. Unlike the grand single-occupancy townhouses further along the street, this building was conceived as a multi-storey tenement, reflecting a more urban and mixed-use character at the western end of Albany Street.
Built in finely coursed sandstone, the façade shows the disciplined geometry of Georgian planning: evenly spaced sash-and-case windows, restrained classical proportions, and a strong horizontal rhythm across its principal storeys. The relatively plain architectural treatment suggests an early position within the street’s development and a practical response to accommodation for professionals, tradesmen and creatives.
By the late 19th and early 20th centuries, buildings at this end of Albany Street increasingly combined residential accommodation above with workshops, studios and small businesses at street level. Nos. 2 and 4 continue that tradition today, housing creative studios behind modest doors and iron railings — a reminder that the New Town was always a place of work as well as domestic life.
Les immeubles des 2 et 4 Albany Street illustrent ainsi un visage plus discret du New Town géorgien : moins solennel que les grandes terrasses, mais essentiel à la vitalité quotidienne et à la longévité de la rue.
This client wanted his old Ford truck lettered to look like it might have been done 50 years ago. I mixed up the paint with a bunch of clear and flattening paste to accentuate the strokes and give it a faded out look.
A corrugated metal warehouse stands illuminated during blue hour at Pier 70, San Francisco's historic waterfront district. The building's gambrel roof and white metal siding exemplify the industrial vernacular architecture that characterizes this transformed maritime neighborhood in the Dogpatch area. The structure features a large roll-up loading door and minimal windows, indicating warehouse or light industrial use. Modern exterior lighting highlights the building's clean lines against the deepening twilight sky. The prominent "American Industrial Center" signage identifies this as part of Pier 70's mixed-use development, which combines industrial buildings with contemporary residential and commercial spaces. Behind the warehouse, a modern blue and white residential building represents the new construction bringing housing density to this San Francisco waterfront location. Young street trees line the sidewalk, part of recent streetscape improvements transforming the former shipyard into a walkable urban neighborhood. The architectural contrast between utilitarian industrial forms and contemporary apartments illustrates Pier 70's evolution from working shipyard to mixed-use district. The blue hour lighting creates dramatic atmosphere, with warm artificial lights glowing against the rich twilight sky. Empty streets at this evening hour allow clear views of the building's functional design—corrugated metal construction, simple geometric forms, and flexible interior spaces suitable for warehousing, creative studios, maker spaces, or tech offices. This scene captures Pier 70's character as San Francisco's premier adaptive reuse project, where industrial heritage meets contemporary urban development in the Bay Area's Dogpatch neighborhood. The waterfront district combines historic maritime architecture with new residential buildings, public parks, and commercial spaces, creating a dynamic mixed-use neighborhood on San Francisco Bay.
The Terrace, a building of various managed workspaces off Grantham Street, Lincoln, Lincolnshire.
Grantham Street was called Brancegate in 1185, Brantegate 1226, Brauncegate 1341, Grantham Lane 1650 until 1846 when the name Grantham Street was adopted. Brauncegate continued west of the High Street as St Martins Church is located there in documents of the 1460s. The area has been considered to have been the area inhabited by Jews until the expulsion of 1290. It is possible, as suggested by Speeds 1607 map, that the street formerly continued directly eastwards to the Clasket gate, rather than ending at Danesgate. Probably named after the Grantham family. The houses were renumbered in April 1859 by order of the Lighting and Paving Commissioners.
Above my desk..All the cupcake-cuteness is from Jenny - every day is a holiday-, on the right is a streetmap of Paris and left is a free print from belle and boo.
I took this of my craft room where I scrapbook at. I have storage for all of my various crafts...sewing supplies, fabrics, beads, paints, yarn, stamps, paper, scrapbooking supplies etc.
I'm very lucky to have a large studio at home. It used to be a three car garage close to, but seperate from our house. The man of the house spent many months working on it for me, now it's my sanctuary of creativity all year round!
52 in 2019 #22 In my room.
Stranger #4: Órlaith Cullinane.
I meet Órlaith while taking pictures of historic buildings around Dundalk with my wife, she was actually the catalyst for the whole afternoon in the Bridge Street Studios visit where I also meet Rachel; we met Órlaith right outside the building, and she graciously invited us inside to experience their active creative hub and gallery.
Órlaith is an exceptionally accomplished fine artist who specializes in powerful charcoal drawings and experimental, multi-material sculptures. Born in Armagh, Northern Ireland, her creative path has taken her all over the globe. She studied and graduated from prestigious art schools in both London and Belfast, completed her Master's degree at Trinity College Dublin, and later moved across the Atlantic to San Francisco. Yet, despite living in some of the world's most famous cultural capitals, the relentless noise and frantic pace of big cities never quite sat right with her—she rarely stayed in one for more than two years.
Twenty years ago, she moved to County Louth and finally found her anchor. Today, she lives with her husband in a cozy, peaceful cottage nestled halfway between Dundalk and Carlingford. When she isn't pushing the boundaries of raw materials in her studio, she loves nothing more than settling into the calm of her cottage with a good book and a hot drink. When I asked if she would ever move back to nearby Armagh, she smiled and told me it’s a wonderful place to visit her family—perhaps once a week—but Louth is where her home is.
Thank you, Órlaith, for welcoming a wandering photographer into your space, sharing your global journey, and being a wonderful part of this 100 Strangers project.
Behind the Shot
Environmental portraits in low-light workspaces are a test of speed and adaptability. To capture Órlaith amidst the raw ingredients of her craft—surrounded by the sculpted maquettes, sketches, and tools on her studio shelves—I shot wide open at f/2.0 using the Nikkor Z 40mm f/2 prime to let in as much ambient light as possible.
In a classic portraiture twist of fate, the dim studio lighting managed to trick the autofocus system, causing it to lock tightly onto the vibrant, high-contrast texture of her pink wool jumper rather than her eyes. While I plan to return to the studio down the line to take a technically sharp portrait that does her full justice, there is a beautiful, candid authenticity to this frame that feels right at home in a street portraiture project.
The 100 Strangers Project
This picture is #4 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Building 36 stands silent in the evening light, its corrugated metal siding and steel-framed windows glowing against the deep blue twilight sky. This photograph captures the raw, utilitarian beauty of Pier 70's mid-century industrial architecture—structures built for function rather than aesthetics, yet possessing an undeniable visual power.
The building's facade tells the story of decades of hard use. The corrugated metal cladding shows signs of weathering and repair, with patches of different materials visible where maintenance work has been done over the years. That distinctive "36" painted on the corner in blue and yellow serves as an identifier in what was once a sprawling complex of numbered buildings, each serving specific functions in the shipyard's operations. The worn appearance and practical materials reflect an era when waterfront industrial buildings were designed for durability and efficiency above all else.
The architectural language here is straightforward industrial vernacular. Large multi-paned steel windows on both levels provided natural light and ventilation for workers inside. The generous window-to-wall ratio was essential in an era before modern HVAC systems, allowing cross-ventilation in what were likely hot, physically demanding work environments. Those windows now glow with warm interior light, suggesting the building has found new life—perhaps as creative studio space, offices, or light industrial uses that characterize much of Pier 70's contemporary occupancy.
The raised section or penthouse structure on the right side of the building adds visual interest to the roofline. This element, common in industrial buildings, often housed mechanical equipment, provided additional headroom for tall machinery below, or served as office or supervisory space overlooking the main work floor. The vertical window grid on this section creates a different rhythm from the horizontal emphasis of the main structure.
At ground level, a large loading bay or garage door opening reveals glimpses of the interior, illuminated and seemingly active. The black painted lower portion of the exterior—likely a protective wainscoting meant to hide inevitable scuffs and damage at truck height—shows the practical thinking that went into these structures. Every design decision served a purpose related to the building's working life.
The empty parking lot in the foreground emphasizes the building's scale and the current quietness of the area. White parking space lines are clearly visible on the dark asphalt, suggesting this area still sees regular use during business hours. The deserted quality at this twilight hour creates an almost cinematic atmosphere—these spaces that once buzzed with round-the-clock activity during wartime production now sit peaceful in the evening.
That bright light source on the right edge of the frame, creating a starburst effect and lens flare, adds drama to the composition. It's likely a modern security or area light, part of the infrastructure updates that allow these historic buildings to continue functioning safely. The power lines visible against the sky are reminders of the electrical systems that powered the heavy machinery once housed within these walls.
The deep blue of the twilight sky provides stunning contrast to the cream and white tones of the building's cladding. This is blue hour photography at its most effective—that brief window when the sky retains color and the artificial lights inside buildings register perfectly on camera, creating a balance of natural and artificial illumination that's impossible to achieve at any other time of day.
Looking at the structure's form, you can see how it was designed for flexibility. The long, rectangular footprint with generous floor-to-ceiling heights meant the interior could be configured for various manufacturing or assembly processes. The simple gable roof with clerestory windows along the ridge line (visible at the roofline) would have provided additional natural light to the center of the deep floor plate—a common and elegant solution in industrial design.
The Dogpatch and Pier 70 context is evident in the surrounding industrial structures visible at the edges of the frame. This isn't an isolated building but part of a larger historic industrial complex that's gradually being adapted for 21st-century uses while maintaining its essential character. The challenge and opportunity of places like Pier 70 is finding ways to preserve these utilitarian structures that were never intended to be beautiful but somehow are.
In this vibrant installation, strands of red thread playfully dance through the air, as if conspiring to catch the sunlight and charm passersby into a tangled daydream.
The Fender Flagship Store in Tokyo is more than a retail experience; it's a tribute to music legends and an immersive journey for any guitar enthusiast. As you ascend the store's staircase, you're surrounded by an impressive gallery of iconic musicians who have shaped rock, blues, and jazz—each proudly wielding a Fender. This visually dynamic display gives visitors a sense of the brand’s storied history and influence, from vintage rock stars to contemporary virtuosos, capturing Fender's impact on music across generations.
The staircase itself is a masterpiece of clean, modern design, with white walls and strategically placed lighting that highlight each framed image. The mix of color and black-and-white photos creates a visual rhythm that feels as curated as a museum exhibit. Fender’s branding is subtly embedded throughout, adding authenticity and reinforcing the connection to Fender's legendary reputation. You’ll spot famous faces and Fender icons like the Jazz Bass and Stratocaster, each frozen in unforgettable performances, underscoring the emotional and cultural ties between the artist, the instrument, and the fans.
On the ground floor, the store even includes a stylish take-out coffee counter—perfect for fueling your browsing experience. This unique addition emphasizes the relaxed, welcoming vibe of the space, inviting you to linger and explore. Whether you're a seasoned musician or just discovering the world of guitars, Fender's Tokyo flagship store offers a rich, immersive experience that celebrates the artistry, history, and culture surrounding the Fender brand in a city known for its cutting-edge style and deep appreciation for music.
Loie Hollowell’s Boob Wheel (2019), displayed at the Hirshhorn Museum, is a powerful and provocative work that explores the intersections of the human body, abstraction, and color in contemporary art. Measuring over six feet tall, this mesmerizing acrylic and oil on canvas painting commands attention with its bold, biomorphic shapes and rich, saturated hues.
The composition centers on a symmetrically divided figure that echoes the natural curves of the human body, particularly the female form, while simultaneously abstracting it into a cosmic, almost spiritual realm. The painting’s top half features a soft oval suggesting a head, set above a geometric swirl of forms reminiscent of a breast or a planetary orbit. The lower half unfolds into a hypnotic pattern of curvilinear forms, evocative of buttocks or a cosmic landscape, all grounded by a warm, radiant orange gradient that bridges the ethereal and the earthly.
Hollowell’s signature use of vibrant blues and oranges creates a dynamic contrast that draws viewers into the painting’s depths, while the interplay of smooth gradients and subtle textures gives the work an almost tactile quality. The strategic placement of small, bright red spheres adds an element of movement and energy, echoing both the feminine and the universal.
Displayed on a salmon-hued wall, Boob Wheel becomes part of the museum’s architectural space, inviting viewers to contemplate its forms from multiple perspectives. Hollowell’s work challenges traditional notions of femininity and representation, blending the intimate with the cosmic to create a painting that is both deeply personal and profoundly universal.
Nestled in the heart of Tokyo's vibrant Shibuya district, the Fender Flagship Store is a haven for music enthusiasts, offering a captivating fusion of modern architecture and rich musical heritage. This glass-walled, multi-level showroom is Fender’s largest flagship store in the world, exuding an aura of sleek sophistication that reflects the brand’s legacy while embracing Tokyo's dynamic urban landscape. Step inside, and you'll be greeted by rows of meticulously displayed guitars and basses, from classics to limited-edition models, all bathed in warm lighting that brings out their unique finishes.
The store’s design is as striking as it is inviting. Fender amplifiers and accessories are thoughtfully arranged, ensuring every type of player, from beginners to pros, finds inspiration. Upstairs, the experience continues with interactive stations where you can explore Fender’s iconic soundscapes, making this not just a retail space but a place to immerse yourself in the world of music. A dedicated service area caters to musicians seeking repairs, customizations, or expert advice.
Beyond the guitars, basses, and amps, Fender’s Tokyo flagship also boasts exclusive merchandise and limited-edition collectibles, making it a must-visit destination for Fender fans and collectors. Whether you’re a musician or simply appreciate fine craftsmanship, this flagship offers a unique insight into Fender's artistry within Tokyo's bustling energy. With its impressive design and unmatched selection, Fender's Tokyo Flagship Store sets the stage for an unforgettable experience for any music lover.
Cleaned up and reorganised my work space today. For example this is where I solder, make bracelets etc. This photo is huge!
the colors really make me feel calm and refreshed... the best way to feel when trying to be creative.
Another creative space in the most beautiful apartment I ever had. Our roommate moved out to live with his soon to be wife and I took over the spare room to be a sewing/art space. This room felt so safe and so me. When we split up this eventually became my bedroom too.
From the 2008 Flickr post: This is my new studio. I am calling it The Red Tent. I finally got everything in today and changed things around over and over.
Doorway view of room.
Tucked into the culturally rich Bayview-Hunters Point neighborhood, this powerful piece of street art encapsulates the soul of San Francisco’s diverse history and enduring resilience. Located near the vibrant Bayview Commons Apartments on Third Street, the artwork draws inspiration from the legacy of Maya Angelou, with the words “I Rise” boldly emblazoned on the utility box. The message, a nod to Angelou's famous poem, reflects the strength and perseverance of the African American community in the Bayview neighborhood, which has historically been a hub of Black culture and activism in the city.
The painting depicts a confident, regal figure wearing a colorful headwrap, evoking both historical and contemporary themes of black pride and identity. This mural, like many others around Bayview, celebrates the community's rich history while promoting unity and empowerment. Street art has flourished in this area as a way to highlight social justice issues and honor local culture. The creative use of public spaces, from utility boxes to entire building walls, brings life to the streets while fostering a deep sense of community pride.
Bayview is not just known for its murals but also for its architectural significance, blending old industrial structures with new development. The neighborhood is a tapestry of artistic expression, with many other pieces nearby, making it a hidden gem for those seeking off-the-beaten-path art in San Francisco.
When you visit, take a moment to pause and absorb the strength behind the brushstrokes—this is more than just a mural; it’s a visual anthem of resilience, painted in the heart of a neighborhood that continues to rise.
This is a cool wrap-around shot of the downstairs of my studio. This studio was built in 1969 by my grandfather Ralf W. Johnstone, and now is used by myself (CJ Metzger) my mom Linda Johnstone Allen, and artist-sister Miss Mindy. This space holds decades of artwork, including art by Ralf, his wife Jeanette, his students (while teaching art at USC), his daughter & Grand-daughters.