Conor Browne

@brownecfm.bsky.social

12570 Followers 496 Following

Biorisk analyst

A landscape photograph. The foreground is tall grass at the edge of a sea cliff. The right of the shot, from the lower midground all the way to the horizon, is a coastline of winding cliffs, the land above the cliffs intensely green. The ocean dominates the left of the shot, deep blue with white foam at the base of the cliffs. An island can be seen on the horizon to the left of the shot, and the sky is bright blue.
A landscape photograph. The photograph is framed with a compositional diagonal split from the lower left of the shot to the upper right of the shot. The area below the diagonal is predominantly the foreground, dense green grass and foliage leading up to a small rocky cliff edge. The area above the diagonal is the midground and background of the shot, a forest along the slopes of a valley, opening up into fields on the valley floor, the fields hemmed in by distant, sheer cliffs. The valley ends at the coast, with a sliver of sea visible on the horizon. The sky is entirely covered in clouds, low and grey, but the entirety of the landscape is green, slightly muted in tone by the light.
A sepia-toned scan of a photo booth photo. The photo shows a black-haired man - my father - and a young boy, me.
A landscape photograph. The foreground is a carpet of green vegetation - shrubs and brambles. The midground of the photograph is green fields and a rocky coastline, a cliff clearly visible on the right centre of the shot, the coastline snaking from the lower left of the shot to the horizon. The middle left of the shot is the ocean, strikingly blue in the sun, and the sky is full of puffy white clouds. A trail curls around the top of the cliffs to the right of the shot; another hiker is visible on the trail.
A landscape photograph. The foreground is a rocky beach, covered in a mixture of pebbles, larger rocks, and sand. To the right of the photograph is the edge of a wood, the bright green leaves on the branches of the trees stretching to the upper left corner of the shot. The coastline and sea can be seen in the right midground of the photograph, and the horizon beyond is a low ridge of hills. The sky is looming with clouds, and a commercial aircraft can be seen flying right to left in the photo.
A photo of me standing in front of a blue sign that reads, 'Welcome to British Pig & Poultry Fair 2026'. I'm wearing jeans, a blazer, a white shirt, and a black FFP2 mask.
A landscape photograph. The foreground of the shot is the rocky summit of a hill, slabs of grey rock visible on the ground. To the centre right of the midground of the shot is a high hill with a dark, rocky summit - Sliabh Feá, the highest point in County Louth, Ireland. A trail can be seen snaking up the hill from the right of the shot. The terrain below Sliabh Feá is green - in the way that only Ireland is green - and undulating, with a low ridge visible on the horizon. The sky is bright blue in the gaps between the clouds.
A landscape photograph. The foreground is in shadow, but scrub and the beginnings of a small forest can be seen. A rainbow cascades from the top left of the photograph to the green fields below. Valley walls can be seen stretching from the right of the photograph to the horizon; a glimpse of the ocean is visible there. The sky, which dominates the photograph, is bright blue and full of light, white clouds.
A landscape photograph taken after sunset. The foreground of the photograph is a sandy beach, with the silhouette of a person walking from the left of the shot to the right of the shot visible just where the sand meets the sea. The sea stretches to the horizon in the midground of the shot, the water glistening with muted, reflected light. There are headlands to both the left and right of the shot, and an orange glow rises above the distant horizon; the last light from the sunset. The sky has a dark band of clouds across it but is clear in the top right of the shot. The photograph was unmistakably taken during the blue hour.
A landscape photograph. The foreground is grass and scrub mixed with a sprinkling of snow on the ground. Beyond the scrub lies a forest, bordered by a trail, white with snow and ice, snaking down from the upper right foreground of the photograph.Beyond the forest the valley rises, the fields on the lower sections of the slope covered in snow. On the right midground of the shot the other side of the valley can be seen. The valley floor is in the centre midground of the photograph, with a small village visible on the coast, where the valley meets the sea. A further coastline can be seen on the distant horizon. The sky is full of dark clouds, growing lighter as they approach the horizon.
A photograph of a Santa Claus ornament on a wooden surface. There is a carved wooden dog to his right, and a carved wooden lion to his left. The wall behind is white.
A photograph of a sunset. The foreground and midground of the shot is predominantly negative space; the silhouette of a cliff edge. The setting sun can be seen on the right of the shot, just touching a horizon of low hills. The sea is visible in the right midground. The sky is a warm orange hue, with a few clouds visible. Two seagulls are silhouetted on top of the cliff edge.
A landscape photograph taken at sunset. The left foreground of the shot is a sandy beach that snakes to the outskirts of a small town just visible in the distance; the spire of a church marks where the town begins. The remainder of the foreground is the still water of Belfast Lough, with only small ripples visible on the surface. The reflections of clouds and the setting sun can be seen on the water. The horizon is a line of lights, with the signature cranes of Harland and Wolff shipyard, where The Titanic was built, just visible rising above the line of lights. Behind the lights, to the right of the shot, the glow of the sunset is visible across low hills on the far shore. The sky is light blue, with thick clouds covering the sky to the left of the shot.
A landscape photograph. A narrow rocky trail in the foreground, flanked by a barbed wire fence to the right and thick heather to the left, leads towards a headland in the midground of the shot. The ocean is visible beyond the headland, calm and still. A jagged coastline of headlands and coves snakes away to the horizon on the right of the shot, with a thick, cloudy sky above. The green of the land could only be Ireland, but the colours of the sky, sea, and land are muted by the dull October light.
A photograph of the ocean. The colours of the scene are grey and muted. The foreground is cresting waves, a heavy swell breaking towards the shore. A rocky headland protrudes from the left of the shot, with a distant coastline just visible on the horizon. The sky is grey and overcast, with only a few scattered patches of light breaking through. Rain over the sea can be seen on the horizon.
A slightly blurred photograph of my mother. She is sitting in a red armchair, a small framed painting hanging on the wall behind her. She is laughing at what she sees on a screen in front of her, an Instagram filter over her face making her look like a cartoon rabbit. Her joy is palpable in the photograph.
A photograph of a sunset. The sun is just above the horizon, casting a long ray of shimmering light across the ocean towards the foreground. The light is muted but has a quality of soft radiance. The foreground is a rocky shore, and a distant coastline sits on the horizon. A few clouds are visible in an otherwise clear sky, the sky's colour transiting from light blue to a soft red above the horizon.
If COVID resulted in everyone getting harmless, untreatable, utterly gross pustules covering their entire face for weeks we wouldn't still be in a pandemic.
A landscape photograph. The left foreground of the shot is dominated by a drystone wall that snakes down the slope of a very steep hill and up another. A saddle between two hills is in the exact centre of the shot, with a steep, rocky gorge visible to the left of the shot and another hill to the right. The landscape is green, but bleak. Not a single person is visible in the shot. In the distance, to the left of the shot, a mountain with two rocky colls on the summit can be seen. Dark clouds loom in the sky.
A landscape photograph. The foreground is lush, long grass. Beyond the grass is a green and verdant valley, with high cliffs on either side. Two rainbows traverse the valley, the lower one more vivid than the one above. The valley floor is farmland, but the plateaus visible high above the valley walls are wild and bleak. The land is green, in a way that only land in Ireland is. The valley floor ends in a coastline in the middle of the shot, the higher of the two rainbows blurring the horizon between the sea and the sky. White, light clouds float high above.
A portrait photograph of my father. He is hiking, wearing a patterned fleece and carrying a rucksack, a hiking pole in his left hand. His hair is silver-grey, and he is looking beyond the lens, towards the horizon behind the photographer. The background is rough and hilly terrain, the hilltops to the right of shot illuminated by sunlight.
A landscape photograph. The foreground is a rocky plateau, with small stones and rocks scattered between sparse patches of grass. Four small cairns of rocks sit slightly to the right of the midline of the shot. Beyond the four cairns is a hilly, bleak landscape, with a forest visible to the left of the shot. Huge, looming clouds fill the sky, dark and menacing.
A landscape photograph. The foreground is a blanket bog - a melange of grasses, heathers, and small pools of standing water. The midground is dominated by a cairn of rocks, approximately three metres high. A distant headland and the ocean is visible beyond the cairn on the horizon. The sky is thick with looming, dark clouds.
A landscape photograph. A wooden-poled wire fence stretches from the foreground in the left of the shot across the photograph far into the distance. The fence crosses a bleak but beautiful plateau of grass, gorse, and bog. The sky is threatening; dark clouds sit low above the horizon of distant hills. A sharp-peaked hill is visible to the left of the midground of the shot.
A landscape photograph taken close to sunset. The foreground of the shot is a rough trail, with small rocks and boulders on either side of it. The midground of the shot is divided by light - on the right of the midground are tall stacks of rock illuminated by the setting sun, while the left of the shot are distant cliffs, muted in shadow. The trail winds its way between the stacks of rock and the cliffs. The sea is visible in the middle of the shot, an azure blue, and beyond it, a low coastline of hilly farmland. The sky above is cloudless and light blue.
A landscape photograph. A wire fence, supported by wooden fence poles, stretches from the left foreground into the far distance. The terrain is blanket bog: heather and grass as far as the eye can see. The horizon is a ridge of low hills, and the sky is blue and filled with puffy white clouds. There is not a single other person visible, and the scene conveys an atmosphere of serene emptiness.
A landscape photograph. The foreground is a rough track leading to a gate; on either side of the track are green fields and a few small trees. On the horizon is a very distinctive small mountain, with the track leading towards it. The sky is cloudy, a mixture of greys and blues.
A landscape photograph. The foreground is a blanket bog, the ground a mixture of light grass and dark heather. The midground is a long ridge, with light reflecting on the downward slope. Distant hills and mountains can be seen on the horizon, with the edge of a lake just visible on the right of the shot. The sky is heavily clouded.
A landscape photograph taken close to golden hour. The foreground to the right of the shot is a grass and heather covered promontory, while the rest of the shot tracks down a cliff-edged valley all the way to the sea. The valley floor is a small forest, and the farmland on the far side of the valley is an emerald green. The sky is bright blue, with only a few white clouds. A haze is visible in the distance, stretching up from the coastline to the cliffs
A landscape photograph. The foreground is a small pebbled beach, with a cliff face rising to the left of the shot. The choppy sea, white with foam, splashes in small waves against the beach and the small jetty protruding from it. Just slightly off the midline of the shot, a rocky and pointed seastack rises out of the water. The sky is light blue with white clouds.
A landscape photograph. The foreground is a rocky coastline. A breaking wave sweeps towards the shore from the right of the shot. A headland is visible in the midground to the left of the shot, while a distant coastline sits on the horizon. The sea is choppy, and the sky is cloudy but backlit by the sun.
A landscape photograph looking down a valley. The foreground is blanket bog, stretching out in the midground to cliffs on both sides of the valley. The floor of the valley is farmland, but the plateaus on each side are rough, desolate terrain. The sky is light blue, with clouds visible. The horizon is the sea, with a far-off coastline in the distance.
A photograph of the front cover of a research paper. A city street, with tall buildings on either side, stretches from foreground to midground, ending in a building with a crane beside it. There are a few parked cars beside the footpaths, but there are no people in the scene. Light crosses the street from right to left, and the sky is the muted blue typical of just before dusk. The title on the cover is 'NAVIGATING UNCERTAINTY: Forecasting the effects of Covid-19 through the lens of Value Pluralism'.
A photograph of a bridge taken at night. Five spans of the bridge are visible from right to left of the shot, with railings visible running along the top of the bridge. The bridge crosses a river, and the surface of the water is awash with multicoloured reflections of light from the streetlights and buildings above. A metal sculpture is visible on the opposite bank of the river, a woman holding a large ring high up towards the sky. Lights are visible inside buildings on the opposite bank, and streetlights dominate the right of the shot. The air has a slightly hazy quality to it, the light diffused by a touch of fog.
A photograph taken at night. The photograph is dominated by a huge shipyard gantry crane in the centre of the shot, its top illuminated with blue Christmas lights. 'H & W' is painted in the centre of the yellow crane. A warehouse sits directly below the crane, with a metal fence snaking along the bottom of the shot, separating the shipyard from the road.
A landscape photograph. The foreground of the shot is the dark, shimmering ocean, the tops of small waves barely visible. The horizon begins with a headland to the left of the shot, becoming a band of sunset red stretching across the entire frame. The sky is full of thick, dark clouds, with a patch of bright blue visible through a gap in them in the upper middle of the shot.
A landscape photograph. The very bottom of the shot is a sliver of sea, stretching out to a headland and then a distant snow-speckled coast on the horizon. The rest of the shot is dominated by a hazy sky, the red of the sunset piercing the clouds above the headland to the left.
A printed sign taped to the front of a pharmacy door. The sign reads, 'CLOSED 12PM - 2PM Unfortunately, due to staff sickness and a very high workload, the pharmacy will be closed between 12pm and 2pm. We apologise for any inconvenience and appreciate your understanding and patience'.
A landscape photograph. The foreground is entirely composed of a dark, choppy sea, the light on the water giving it the impression of mercury. A headland is just visible in the midground, to the left of the shot, the orange light of the setting sun visible just above it. The upper half of the photograph is dominated by a huge, looming cloud, rolling in towards the viewer. The rest of the visible sky is a clear light blue.
A landscape photograph. The foreground is a line of dark, wet boulders - the edge of a breakwater. The sea dominates the centre of the photograph, waves rolling across the shot from right to left. The soft colours of sunset light the sky above the distant horizon of a silhouetted coastline. A small village is just visible on the coast at the left of the shot.
A landscape photograph taken at sunset. The sun has just set to top right of shot, and the light of the setting sun is reflecting on the waves of the ocean between the foreground and the horizon. A headland juts out into the sea on left on shot. A fisherman casts his rod from a breakwater in the foreground.
A heron standing in the water just beside a weir. The background is a thicket with some wildflowers. The water rushes around the heron's feet, causing distinctive patterns in the water.
An old photograph of a street in my hometown. It is black and white, showing an intersection between streets.
The silhouetted figure of a woman stands on a small stone jetty. She is facing away from the camera. Behind her, there is a rocky pebbled beach. In front of her, cliffs to her left and right, and a sea stack nearly in front of her. The sea in front of her is rough; a wave is breaking. The sky is clear, and light streams from left to right, illuminating the top of the sea stack and part of the shoreline to the right.