Jevon Carey

@jevoncarey.bsky.social

4447 Followers 3221 Following

Sometime amateur photographer. Fen dweller in the frozen eastern wasteland of Cambridgeshire. Link to my website. https://jevoncarey.myportfolio.com/

A close still life of two roses against a nearly black background. On the left, a deep red rose is shown in shadow, its layered petals carrying muted crimson highlights and a dense, velvety texture. A large white rose enters from the upper right, its pale petals softly illuminated and folding towards the centre of the frame. The two blooms overlap slightly, creating an asymmetrical but balanced opposition between light and darkness, cool pallor and saturated red. A narrow green leaf extends beneath the white rose near the lower right edge. The image is dark, restrained and intimate, suggesting the final light of evening being gradually overtaken by dusk.
A minimalist still life of two pale pink Japanese anemones in a slender clear glass bottle against a softly lit white fabric backdrop. The flowers are carried on unusually long, fine green stems that cross inside the neck of the bottle before separating into an open, airy arrangement. One bloom sits lower and turns slightly towards the viewer, while the second rises above it, seeming almost to float in the surrounding space. Japanese anemones are a seasonal subject I look forward to each year. Their arrival in the garden has something of the feeling of Sakura for me: anticipated, brief and tied to a particular moment in the year. That sense of transience shapes the photograph. The image is not only about the appearance of the flowers, but about noticing them while they are here. Their thin, translucent petals catch and transmit light rather than absorbing it, giving the blooms a soft luminosity. The petals are gently ruffled and irregular, avoiding any sense of botanical perfection or decorative neatness. Their slight asymmetry gives each flower an individual presence. The nearly invisible bottle supports the stems without competing with them, while the crossing lines create the structural centre of the composition. Generous negative space emphasises their apparent weightlessness and the delicate relationship between stem, bloom, vessel and light.
A close, vertical photograph of a large pale cream dahlia emerging from a nearly black background. Strong directional light falls across the flower from the upper left, illuminating the layered outer petals and revealing the tightly curled, intricate structure of its darker centre. The petals range from warm ivory in the light to muted brown-grey in shadow, giving the bloom a sculptural appearance. Green stems and leaves are only faintly visible around it. Two unopened buds appear along the right edge, one partly cropped at the lower corner, while another flower head recedes softly into darkness near the top.
A dark, vertical still-life photograph of dried and fading flowers arranged in a plain cylindrical vase against a nearly black background. Tall blue delphinium stems rise unevenly from the bouquet, with smaller purple and pink flowers, curled brown leaves, seed heads and collapsed blooms clustered densely around them. The vase is lit softly from the left, revealing its pale matt surface while much of the arrangement recedes into shadow. Below, several dried roses and loose petals have fallen across the dark tabletop, forming a second, lower mass that spreads toward the bottom edge of the frame. The overall lighting is low and directional, with small areas of blue, magenta and ochre emerging from the darkness.
Black-and-white photograph looking into an apple tree. A cluster of six apples hangs near the centre of the vertical frame, with three larger fruit in the lower half and smaller apples receding upward into the foliage. Dappled sunlight falls across the apples, revealing their rounded forms and mottled skins, while surrounding leaves and branches move between bright highlights and deep shadow. A thick branch enters from the left and leads toward the central fruit. The lower apples are sharply defined, while the upper fruit and background become progressively softer. Pale, out-of-focus foliage on the right opens the composition and gives a sense of depth, contrasting with the dense, dark leaves around the edges.
Black-and-white photograph of a dense group of dried poppy seed heads standing on tall, narrow stems in a garden. The largest capsules occupy the upper centre of the vertical frame, their pale, wrinkled surfaces and dark, star-shaped crowns picked out by strong sunlight. Smaller heads recede behind and around them, creating layers of depth among the stems. Withered leaves gather darkly around the lower part of the plants. The background is softly out of focus, with indistinct foliage and a broad pale area of sky across the top. A single tall, thorny stem runs close to the right edge. The image is surrounded by the irregular black border of the 4×5 film sheet.
A lightly warm-toned black-and-white still life photograph of a single pale rose in a dark glass bottle. The bottle sits low in the frame, almost merging with the dark ground around it, with only a small shoulder highlight and a faint edge of glass separating it from the surrounding shadow. From it rises a thin, slightly curved stem, leading up to a large white rose placed in the upper half of the image. The flower is softly luminous, with layered petals opening outward and delicate folds still visible in the bright areas. The petals on the left edge catch the most light, while the centre of the rose holds deeper grey tones. The background is plain and muted, a warm grey-brown field with subtle film grain, unevenness and fall-off toward the edges. The composition is quiet and sparse: the pale mass of the rose is balanced by the dark weight of the bottle below, with the fine stem forming a fragile connection between them.
Black and white still life photograph of a single pale rose in a dark glass bottle, set against a deep black background. The flower sits high in the frame, slightly right of centre, with its petals opened outward and lit so that the upper edges glow softly against the darkness. The left side of the bloom shows delicate layered petal shapes, while the underside falls into darker grey tones. A thin, pale, slightly curved stem drops from the rose into the bottle, forming a quiet vertical line through the centre of the image. The bottle is mostly lost in shadow, but small highlights reveal the rim, neck and shoulders. A faint horizontal surface is visible near the bottom of the frame, just enough to place the bottle within the space. The surrounding darkness is not completely even; it carries slight variations in tone, particularly on the left, while the image area is set within a wide white border. The overall effect is quiet and formal, with the rose held above the darkness by the thin line of the stem.
Black and white photograph of an old tree in dense woodland, presented with a white border. The tree occupies most of the frame, with a dark, leaning trunk rising from a mass of exposed roots. The roots twist across the lower half of the image, rough with bark, moss and leaf litter, forming the main structure of the photograph. The left side of the trunk and surrounding undergrowth are very dark, almost black, while the central bark and roots catch enough light to show their texture and shape. Above, heavy branches spread across the top of the frame, adding a dark canopy. Behind the tree is a pale opening of sky and a tangle of thin bare branches, held back so that the tree remains dominant. The right side recedes into darker woodland, with fine twigs and saplings partly visible. The image has strong contrast and a quiet, enclosed feeling, with the tree appearing old, rooted and heavy in the surrounding shade.
A toned black-and-white photograph of an old beech tree in Silent Valley, Cwm, Blaenau Gwent. The tree stands beside a shallow rocky stream, its large trunk rising from an exposed mass of twisting roots and moss-covered earth. The roots spread down the bank like heavy folds, gripping the slope above the water and forming the central subject of the image. The lower trunk is pale and textured, with dark seams and scars running vertically through the bark. The stream occupies the lower foreground, flowing over small stones and dark rocks. Its brighter reflections cut through the shadowed lower edge of the frame, giving scale to the tree and placing it within a damp woodland setting. Behind the beech, a bright opening in the sky silhouettes the branching structure and separates the main trunk from the surrounding trees. The image has a strong vignetted treatment, with the upper corners and lower edges held in deep shadow. The centre of the photograph is lighter, drawing attention to the root mound and the point where the trunk seems to flow into the exposed roots. The toning gives the monochrome image a muted green-gold cast, like an aged print. The overall effect is dark, quiet and sculptural. Rather than showing the whole woodland, the photograph concentrates on the form of one particular tree: its weight, age, texture and relationship to the stream that has exposed its roots.
Black and white photograph of the ruins of St James Church, Bawsey, Norfolk. The broken flint and stone walls stand in rough grass beneath a pale overcast sky. Two taller wall sections rise above the central ruin, with an arched opening low in the masonry and a lower wall extending in from the left.
Black-and-white photograph of the ruins of St James Church at Bawsey, Norfolk, seen through a gap between two closer broken stone walls in the foreground. The central ruin stands tall and narrow, with two main surviving tower-like sections rising against a cloudy sky. The left-hand section is broader and taller, built of rough flint and stone with a squarer top, while the right-hand section is slightly lower and more open, with broken edges and irregular vertical sides. Between them are smaller remnants of walling and a short stone connection. At the bottom centre of the frame is a large stone arch, partly intact, with its curved form clearly visible beneath the ruin. Through the arch, and also beneath the lower masonry, a flat strip of distant land can be seen on the horizon, giving a sense of the open Norfolk landscape beyond the enclosed ruins. The foreground walls on the left and right are softer in focus and darker in tone, acting like a frame around the sharper central structure. Their rough stones and uneven tops suggest the remains of surrounding walls rather than complete buildings. The sky is filled with pale and mid-grey clouds, brighter on the right side and darker in places behind the ruin, helping the broken outline of the masonry stand out. The overall composition is vertical and symmetrical enough to feel balanced, but irregular enough to keep the ruin’s damaged structure evident. The image has a quiet, weighty atmosphere, with strong textures in the stonework and a clear sense of age, weathering, and collapse.
Black and white landscape photograph of the ruins of St James Church at Bawsey, set low in a rough open field. The remaining stonework forms a long, dark, weathered block across the middle of the frame, with broken wall sections, irregular masonry, and deep black openings where parts of the church have fallen away. The ruin sits slightly raised above the surrounding grass, giving it a solid, blunt presence rather than a decorative or picturesque one. The foreground is filled with uneven grasses and scrub, some pale and wiry, some darker and matted, creating a rough texture that leads up to the base of the building. The lower edge is held darker, keeping attention from slipping out of the frame. Beyond the ruin, the land falls away into a low, flat distance with a faint horizon line and dark shapes of trees or hedges. Most of the upper half of the image is occupied by an overcast sky, with soft grey cloud spreading from left to right. The cloud is heavier and darker in places, but not dramatic; it gives the scene a quiet weight. The composition is static and frontal, with the ruin placed almost centrally and no path, figure, or obvious point of movement through the scene. The overall feeling is still, exposed, and unsentimental: a ruined church standing in open land, held between rough grass below and a broad Norfolk sky above.
Black and white photograph of St James Church Ruins in Norfolk, seen from a little distance across rough grass and wild growth. The ruined church stands just left of centre, partly surrounded by tall vegetation. The central section rises highest, with broken stone edges, dark window openings and lower fragments of wall spreading out on either side. The masonry is clear, but not separated from its setting; it feels embedded in the field rather than presented as a clean architectural subject. The foreground is busy with long grass, weeds and pale umbellifer flower heads. A rough track or worn path runs in from the lower left, then disappears into the thicker growth. On the right, taller stems reach up into the sky and partly frame the open space around the ruin. Above the church is a wide cloudy sky, lighter toward the upper right and more textured over the centre and left of the frame. The clouds give the scene a slightly exposed, changeable feel without making it dramatic. The overall image is restrained and quiet: broken church walls, rough ground, wild plants and sky all held together as one rural landscape.
Black-and-white photograph of the close ruins of St James Church at Bawsey, Norfolk. The surviving masonry fills the centre of the frame, rising from rough grass and scrub into a wide, grey sky. Three main wall masses remain: a lower, broken section on the left, and two taller central tower-like sections divided by a vertical gap. At the base of the central structure is a dark arched opening, with more ruined stone visible through it. The walls are heavily textured, made up of uneven stone, rubble, small openings, broken edges and visible roof-level traces crossing the masonry. The foreground is deliberately substantial rather than incidental. Dark grasses, weeds and rough growth fill the lower part of the image, balancing the dense texture of the stonework and the broad cloud texture above. The sky is broad and grey, with cloud detail visible behind and above the ruined walls. The ruins stand on raised ground at Bawsey, a site whose wider scheduled area includes buried evidence of Saxon and medieval settlement. Historic England records that the church occupies the highest point of a hill which would once have been effectively island-like, surrounded by water or marsh. Around the lower slope, an oval enclosure ditch survives as a buried feature, visible through cropmarks in aerial photographs. In the photograph, the ruin reads not only as surviving church fabric, but as the visible remnant of a much larger vanished settlement landscape.
Black-and-white landscape photograph of St James Church ruins at Bawsey, Norfolk. A low, rough field fills the lower half of the frame, with pale grasses and uneven stubble in the foreground and faint tractor tracks running inward across the open ground. Near the centre of the horizon, the ruined church stands as a small, broken shape: fragments of wall and the remains of the tower rise above the field, isolated and exposed. The building is distant enough that it appears almost like a marker in the landscape, held between the rough foreground and a wide, heavy sky. The sky takes up much of the image. Broad grey cloud moves across it in layered tones, darker at the top and softer toward the horizon, giving the scene a pressed-down, unsettled atmosphere without dramatic sunlight or shadow. The land around the ruin is flat and open, with darker hedges and tree lines sitting low on the far right and far left. Historically, these are the remains of the medieval church associated with the deserted village of Bawsey. The site is recorded as Saxon and medieval, with the church thought to have originated as a Late Saxon minster and later served the village as its parish church. It is believed to have been disused by the early 16th century and ruinous before the late 18th century. The photograph shows the ruin not as a romantic monument, but as a remnant left within working land and weather.
Black and white close-up still life of a pale garden rose against a deep black background. The bloom fills the lower two thirds of the frame and is photographed from a low, slightly side-on angle, so the rose spreads horizontally across the image rather than standing upright. The front petals are broad, soft, and slightly curled, with fine veining, small dark marks, and uneven natural edges visible in the light. Their rims catch brighter tones while the folds beneath fall into grey shadow. Behind them, taller inner petals rise in layered forms, some bright and almost translucent, others softened by shallow focus. The sharpest detail sits around the central front petals, while the rear of the rose recedes gently into blur, giving the image a sculptural depth rather than a flat botanical record. The surrounding black field isolates the rose and makes the pale petals appear suspended in space.
A colour photograph looking into the wooded course of Nant-y-Lamb in Cwm Bodringallt, above Ystrad in the Rhondda Fawr. The view is taken from low on the stream edge, looking upstream into a narrow, enclosed side-cwm. The stream enters from the lower foreground as pale moving water, dark wet stones and shallow brown pools, then bends into the centre of the image beneath a fallen tree trunk. Moss-covered rocks, exposed roots, broken branches and damp earth form the banks. Ferns and dense summer growth fill the left side, while a steeper, darker right bank rises beside the water. The upper frame closes into a canopy of trees and leaves, with a small pale opening of light beyond the trunk. There is no open horizon; the image is about being inside the valley, with water, rock, moss and foliage pressing closely around the viewer. The location is a side-cwm of the Rhondda Fawr. Mynydd Yr Eglwys rises on the west side of Cwm Bodringallt, and Mynydd Ty’n-tyle rises on the east side. The Nant-y-Lamb runs down through this wooded valley toward Ystrad, Bodringallt and the floor of the Rhondda. The historical context is part of the photograph’s meaning. Bodringallt was not only a local place-name attached to this part of Ystrad; it was also the name of a colliery in the lower valley. The photograph does not show colliery buildings, spoil tips or machinery, and it should not be read as a mining photograph in the literal sense. Its connection to mining is through the ground, the valley system and the place-name. What is visible now is a green, wet, shaded valley interior, but the scene belongs to a landscape shaped by coal working, settlement, paths, watercourses and later overgrowth.
Black and white film photograph of foxgloves in a garden. A pale cluster of foxglove bells sits in the lower-left half of the frame, softly lit and slightly leaning into the image. Behind it, another foxglove stem is visible but heavily out of focus, creating a larger blurred echo in the upper right. The background is dark and soft, made up of indistinct leaves and stems, with a gentle pale blur along the right side. The image has shallow depth of field, soft contrast, and a quiet enclosed atmosphere.
Black and white film photograph of poppy seed heads in a garden. A cluster of upright seed pods stands near the centre of the frame, their round forms and long thin stems sharply defined against a soft, blurred background. To the right, a single drooping poppy flower hangs from a curved stem, its pale petals marked with small droplets. The left side of the image contains out-of-focus flowers and foliage, creating a soft tonal mass. The photograph has a quiet, subdued atmosphere, with shallow depth of field and gentle contrast.
Black and white photograph of a small frosted spinney standing alone in a flat Fenland field. The trees form a dense, pale mass near the centre of the frame, their branches coated in frost and softened by fog. Dark trunks and inner branches show through the lighter outer canopy. A narrow strip of field runs along the bottom, with faint reeds or rough grasses on either side. The background disappears into a smooth grey mist, leaving the spinney isolated beneath a large empty sky. The image is quiet, cold, and still, with the fog flattening the distance and the frost defining the shape of the trees.
Colour photograph of a weathered corrugated iron shed at Welches Dam on the Ouse Washes in Cambridgeshire. The main structure fills the left side of the frame, its metal cladding stained with grey, green, black, and orange rust. A small pale green wooden door or shutter sits high on the front, slightly open. Behind and to the right is a lower timber shed with a long red corrugated roof and another pale green door. Dead grasses and weeds run across the foreground, and a bare tree rises behind the buildings against a flat pale sky. The image emphasises texture, patched materials, rural utility, and the improvised character of Fenland working buildings.