iiinova — where your digital self keeps evolving

Jevon Carey @jevoncarey.bsky.social · 01/10/2026

Following the Fenland tradition of getting one last barbecue in before autumn hits . #photography

Jevon Carey @jevoncarey.bsky.social · 30/09/2026

One freshly harvested field of what was sugarbeet, cultivated and resown with winter barley all in two days. 200 acres. And a dollop of autumnal Fenland sky. #photography #landscape

1444

Jevon Carey @jevoncarey.bsky.social · 28/09/2026

The things I see down the bottom of my garden. #photography #nature

0272

Jevon Carey @jevoncarey.bsky.social · 25/09/2026

Finally after what i thought was going to be an endless search, a lamp for my cutting and negative table. #photography #believeinfilm

2462

Jevon Carey @jevoncarey.bsky.social · 23/09/2026

More from St James Church Ruin, Bawsey Norfolk. Bronica ETRS, Ilford Delta 400 120 developed in Beutler two part. #photography #believeinfilm #mediumformatphotography @ilfordphoto.com #landscapephotography

Black-and-white landscape photograph of a ruined medieval church, St James, Bawsey in Norfolk, standing alone on a low ridge in the middle distance. The remains are small within the frame, positioned slightly left of centre, with a tall broken section of masonry containing two dark arched openings and lower fragments of wall scattered to either side. A broad, recently cultivated field stretches across most of the scene, its faint furrows and changes in tone creating gentle diagonal lines leading towards the ruins. In the foreground, a rough verge is filled with dark brambles, grasses and tall dried stems. A simple wire fence runs across the lower part of the image, supported by irregular wooden posts, including a cluster of posts near the lower right corner. Beyond the field, a dark line of trees forms the distant horizon, particularly on the right. Above everything is a large, pale sky occupying almost half the photograph, with long soft bands of cloud sweeping horizontally across it. The bright open sky contrasts with the darker earth and vegetation below, while the ruined church appears isolated and fragile against the horizon. The overall scene is spacious and restrained, emphasising the relationship between the small surviving structure, the worked agricultural landscape and the immense sky.

0635

Jevon Carey @jevoncarey.bsky.social · 23/09/2026

Another from Monday's visit to the ruins of St James Church Ruins in Norfolk. Bronica ETRS, Ilford Delta 400 developed in Beutler two part. @ilfordphoto.com #photography #believeinfilm #mediumformatphotography #landscapephotography

Black-and-white photograph of a ruined medieval stone structure viewed from inside. A large round-headed arch dominates the centre of the frame, built from pale dressed stone and brick-like blocks, with rough flint and rubble masonry surrounding it. The arch is damaged and incomplete, with broken stonework and irregular gaps above, including two large openings near the top of the image where the wall has collapsed. Through the main arch, a flat rural landscape is visible in the distance: fields, hedgerows and scattered trees beneath a pale, almost featureless sky. The bright view beyond contrasts with the darker, heavily textured ruin in the foreground. A worn path of grass and bare earth leads from the bottom centre towards the opening, creating a visual route through the structure and into the landscape beyond. Dense leafy vegetation fills much of the lower left side, while a large mass of rough masonry occupies the right side of the frame. Sunlight catches parts of the upper stonework and some leaves, while deeper shadows emphasise the depth and thickness of the walls. The vertical composition emphasises the height of the surviving structure, while the arch acts as a frame around the quieter countryside beyond.

1648

Jevon Carey @jevoncarey.bsky.social · 23/09/2026

Managed a trip out to the remain of St James Church,Bawsey just over the border into Norfolk. Bronica ETRS, Ilford Delta 400 120 developed in two part Beutler. #photography #beleiveinfilm #landscapephotography #mediumformatphotography @ilfordphoto.com

Black-and-white photograph of a ruined stone church standing at the edge of open countryside. The composition is divided almost vertically: the left half is filled by a close view of an ancient wall, its surface crowded with rough flint, irregular stones, pale mortar, and larger squared blocks framing the edge. The masonry is sharply detailed, with strong contrast revealing pitted textures, cracks, lichen, and weathering. Several pale stones catch the light and stand out against darker rubble, while the wall’s right edge forms a clean vertical line near the centre of the frame. Beyond it, the scene opens abruptly into farmland. Broad fields recede in horizontal bands toward a low line of trees and hedges on the horizon, with a few isolated bushes breaking up the middle distance. The distant landscape is deliberately softer and darker than the foreground masonry, giving a strong sense of depth and separation. Above it, a large sky occupies much of the upper-right half of the image, rendered in mid to dark grey with faint, elongated cloud bands. Sparse dry plants and grasses rise at the foot of the ruin in the lower centre and right. No people are present. The photograph is dominated by the contrast between the dense, tactile, sharply rendered stonework and the quieter, smoother countryside beyond, the ruin anchoring the foreground while the land falls gently away into the distance.

3534

Jevon Carey @jevoncarey.bsky.social · 21/09/2026

Just had a nasty fall in Majestic Wine Warehouse in King’s Lynn . I’m ok but my debit card is very bent . #photography #wind #drinks #justtakeallmymoney

6281

Jevon Carey @jevoncarey.bsky.social · 19/09/2026

Third and probably last tomato harvest of the season. #photography #nature #gardening #fruit

39811

Jevon Carey @jevoncarey.bsky.social · 17/09/2026

My Blackjack Dahlias catching some morning sun. I love these but they are so hard to capture on film in the studio . Yes. Black. Black. Black! Like the clouds of death that follow me into the Forest of Doom! #photography #nature #flowers #dahlias

0536

Jevon Carey @jevoncarey.bsky.social · 14/09/2026

I cannot emphasise how much my use of swearwords has diminished since I started using a geared tripod head and a macro rail for my studio still-life work — especially large format! I can thoroughly recommend the expense. #photography #stilllife #believeinfilm

1391

Jevon Carey @jevoncarey.bsky.social · 14/09/2026

Dahlia. I was going to make this monochrome, but the subtle pinks, green stems and cobalt blue glass were doing too much compositional work to throw away. Colour as composition. Nikon D800, Nikkor-S Auto 50mm f/1.4. #photography #stilllife #nature #flowers #dahlia

Two pale cream dahlias emerge from a deep black background, one large bloom lower left and a smaller flower above and to the right. Their petals carry very subtle pink tones toward the centres. Dark green stems descend into a ribbed cobalt-blue glass vase, which is only partly revealed by the light. The lighting is soft and directional, giving the petals gentle modelling while leaving most of the surrounding space in darkness.

27210

Reposted by Jevon Carey

Yant is... @donkeyislandpress.co.uk · 14/09/2026

FOR SALE Olympus Pen D £80 UK shipped. Meter works, 32mm f1.9 lens.

15014

Jevon Carey @jevoncarey.bsky.social · 14/09/2026

Giant Dahlia has achieved six foot again this year. #photography #nature #dahlia #flowers

2364

Jevon Carey @jevoncarey.bsky.social · 13/09/2026

Orderly Apples and Pell-mell Pears Harvest from the garden. Nikon D850 Bell and Howell 85mm f/1.4. #photography #stilllife #nature #garden #harvest

A low-key monochrome still life titled Orderly Apples and Pell-mell Pears. On the left, a group of apples is carefully stacked into a loose pyramid on a shallow dark plate, with a single apple balanced at the top. Their smooth skins and rounded forms are picked out by soft directional light against an almost completely black background. To the right, a contrasting group of pears lies in a more irregular, haphazard heap, their elongated shapes overlapping and their mottled, speckled skins rendered with strong texture. The fruit emerges gradually from deep shadow, while the surrounding surface and background fall almost entirely into black. The arrangement contrasts the formal order of the apples with the casual disorder of the pears. All of the fruit was harvested from the garden.

2385

Jevon Carey @jevoncarey.bsky.social · 11/09/2026

Given the ‘quality’ of output I would have thought twice before I showed how inept at the genre I was, especially whilst trying to sell product. #photography #believeinfilm youtu.be/UmBpQyYMDQ0?...

youtu.be

Shooting & Developing Film In My Van

YouTube video by Thomas Heaton

4162

Jevon Carey @jevoncarey.bsky.social · 09/09/2026

Some of the lovely Dahlias I’ve grown this year . #photography #flowers #nature

2445

Jevon Carey @jevoncarey.bsky.social · 08/09/2026

I may have just grown the perfect Dahlia. Cafe au Lait. #photography #nature #flowers

613615

Jevon Carey @jevoncarey.bsky.social · 07/09/2026

Orchard Building. I try and stop by this every time I have a camera on me and take a snap. Sad to see it slowly slipping away. Horseman 985, Ilford FP4 4x5, Beutler developer. I like the tonal hierarchy this combination produces. #photography #landscapephotography #believeinfilm @ilfordphoto.com

Black-and-white photograph of a small, weathered brick outbuilding standing beneath a huge mature tree. The tree dominates the right half of the frame, its broad canopy spreading across the sky and casting deep shade around the building. Behind it, large bright cumulus clouds rise against a smooth mid-grey sky. The outbuilding sits slightly left of centre, with a dark tiled roof, a square-paned window and a shadowed doorway. Stacks of rough timber, boards and wooden pallets are piled irregularly around its base. In the left foreground, smaller orchard trees and leafy branches frame the scene, some bearing visible fruit. A low fence runs horizontally across the right background, beyond a rough open yard. The tonal range runs from luminous cloud highlights to dense blacks under the tree, with fine detail visible in foliage, brickwork, bark and the scattered wood. The overall impression is quiet, rural and slightly neglected, with the enormous tree visually sheltering and overshadowing the modest building.

2594

Jevon Carey @jevoncarey.bsky.social · 03/09/2026

Pair of beauties just in from the garden. Dahlia Labyrinth. #photofrapht #flowers #nature

1523

Jevon Carey @jevoncarey.bsky.social · 02/09/2026

I’ve often thought about what would be my ideal camera, M6 perhaps when I was shooting 135, 500cm for 120, but this for 4x5 ? No doubt, no question, where do I get one ! #photography #believeinfilm #largeformatphotography youtu.be/CvxBKeBYTrc?...

youtu.be

Large Format SLR - (How it transformed my photography)

YouTube video by Dave Shrimpton Photography

1141

Jevon Carey @jevoncarey.bsky.social · 01/09/2026

Royal Mail is a nominative industry, so why is it that the people employed to take responsibility for delivering things safely are always the people least well equipped to do so? I cannot believe the level of stupidity that some people can achieve with so little effort.

150

Jevon Carey @jevoncarey.bsky.social · 24/08/2026

White Lily. I didn't realise until yesterday that my Topcor 150mm lens had a PC sync socket. I can use my studio flash with large format now! Horseman 985, Super Topcor 150mm f/5.6, Fomapan 100, Beutler developer. #LargeFormat #4x5Film #BlackAndWhitePhotography #believeinfilm #stilllife

Black-and-white large-format studio photograph of a white lily against a deep black background. The open flower fills the lower centre of the vertical frame, with broad pale petals showing soft tonal gradation, visible veins and gently curling edges. Dark stamens rise from the centre, creating strong graphic marks against the lighter petals. Two unopened buds extend upward above the flower and are picked out by a narrow directional light, giving them a silvery, sculptural appearance. Dark leaves extend sideways behind the bloom and mostly disappear into the black background.

Photographed with a Horseman 985 and Super Topcor 150mm f/5.6 on Fomapan 100. Exposure was 1/60 sec at f/16, ISO 100, with 210 mm of bellows extension. Studio lights were off. Flash setup: key light at 1/2 power, fill at 1/8, snooted spot at 1/8. Developed in Beutler.

0572

Jevon Carey @jevoncarey.bsky.social · 23/08/2026

Been playing with some very pretty Lillies in the studio this morning, I love experimenting with controlled low key exposures. Nikon D800, Bell and Howell 85mm f/1.4 #Lilies #FlowerPhotography #StillLifePhotography #BotanicalPhotography #StudioPhotography

A vertical, low-key colour still life of white lilies against an almost completely black background, surrounded by a narrow white border. Two open flowers occupy the lower half of the composition. The principal lily faces forward and slightly to the right, its broad white petals softly modelled by directional light. Dark rust-red anthers hang from slender pale-green filaments at its centre, with a few tiny grains of pollen visible on the lower petals. A second open lily overlaps from behind on the left, turning sideways and downward into deeper shadow. Above the flowers, two unopened buds rise on separate stems. The larger bud at upper left catches a soft glow, revealing pale cream and green longitudinal ridges, while the smaller bud at upper right remains dark and subdued. Long green leaves extend horizontally behind the flowers and merge gradually into the black. The stems and a narrow glass vase are only faintly visible beneath the blooms.

1362

Jevon Carey @jevoncarey.bsky.social · 22/08/2026

A white rose in Prussian blue. Another cyanotype from my flower archive, printed with the brush marks left visible around the image. I rather like the tension between the delicacy of the petals and the physical evidence of making the print. 12"x12" #Cyanotype #AlternativeProcess #Photography

A square cyanotype print of a rose, displayed on a small, paint-marked wooden easel against a dark background. The flower fills the central image, its layered petals rendered in pale blue, white and deeper cyan shadows. Uneven blue brush marks extend beyond all four edges of the image, particularly across the top and bottom, revealing how the sensitiser was applied. A broad border of warm white, lightly textured watercolour paper surrounds the print.

1618

Jevon Carey @jevoncarey.bsky.social · 20/08/2026

Dahlia, Cyanotype Thought I would have a go at increasing the scale, not of the image but with a supporting border. I like how this one has worked out. I don't think I will tone this. 16 inch by 16 inch sheet. #Cyanotype #AlternativeProcess #Photography #BotanicalPhotography #Dahlia

A square cyanotype print of a single Dahlia, made on Gerstaecker No. 3 watercolour paper and presented on a 16 × 16 inch sheet. The photographic image occupies an approximately 8 × 8 inch square in the centre, surrounded by a broad four-inch border of untouched paper. The cyanotype is a rich Prussian blue, with the sensitised area extending slightly beyond the image in visible, irregular brush marks, particularly along the top, left and lower edges. The Dahlia fills most of the blue square. Its many overlapping petals radiate outward from a tightly detailed centre, with the upper and central petals appearing pale and luminous against the darker background, while the lower and outer petals gradually fall into deeper blue tones. The large expanse of clean white paper around the relatively small image gives the print a restrained, spacious appearance. The finished sheet is photographed upright on a small wooden easel against a plain black backdrop.

2413

Jevon Carey @jevoncarey.bsky.social · 20/08/2026

Making a Dahlia Cyanotype is not a simple as you think it might be! I’ve written a fully illustrated account of making the print, from the original photograph through to the finished image. jevoncarey.myportfolio.com/making-the-d... #photography #cyanotype #alternativeprocess #analoguephotography

jevoncarey.myportfolio.com

jevon carey - Making the Dahlia Cyanotype.

6376

Jevon Carey @jevoncarey.bsky.social · 19/08/2026

I've created a new negative (old on the left, new on the right). I won't bombard you with the step-by-step process, but once the print is finished I'll publish a link to a fully illustrated article on my website. #photography #cyanotype #alternativeprocess #analoguephotography

Two digital negatives of the same monochrome dahlia photograph placed side by side on a light surface. The original negative is on the left and the revised negative is on the right. In both, the flower fills most of the square image area while the surrounding background remains largely clear. The revised negative on the right is noticeably denser through the centre, middle and lower petals, giving those areas a darker appearance than in the original negative. This additional density was created using a 2.20 gamma correction before inversion, with the intention of holding back more ultraviolet light during cyanotype exposure and preserving greater tonal separation in the finished print. The comparison shows how the structure of the digital negative was altered while leaving the clear background largely unchanged.

1213

Jevon Carey @jevoncarey.bsky.social · 19/08/2026

Final toned print, part dry. I’m going to have another look at the negative and see if I can reprint it with a little more luminance in the lower midtones. #photography #cyanotype #alternativeprocess #analoguephotography

An 8 × 8 inch hand-coated cyanotype of a single dahlia, photographed while still partly drying after bleaching and toning in black tea. The square print lies on a dark charcoal surface. The original Prussian blue has been transformed into muted warm brown, plum-grey and charcoal tones. The dahlia fills most of the image, with overlapping petals radiating from a dense central structure. The upper petals are lighter and clearly separated, while the lower petals gradually disappear into the darker surrounding field, creating a low-key, atmospheric image. A narrow cream paper border surrounds the sensitised area, with irregular hand-brushed edges and visible brush strokes along the top and bottom. The textured surface of the paper is clearly visible throughout the print. The image remains slightly damp, so its final colour and density are still settling.

2505

Jevon Carey @jevoncarey.bsky.social · 19/08/2026

Yesterday’s Dahlia cyanotype after being left to dry and oxidise overnight, allowing the deep Prussian blue to develop. Next to it, the same print after bleaching, ready for tea toning. #photography #cyanotype #alternativeprocess #analoguephotography

Image 1 — Oxidised cyanotype

An 8 × 8 inch hand-coated cyanotype print of a single dahlia flower, photographed lying on a dark surface after drying and oxidising overnight. The flower occupies the centre of a roughly square field of deep Prussian blue, with its layered petals emerging in paler blue-grey tones. Fine detail and tonal gradation remain visible through the petals, particularly around the tightly structured centre and the lighter upper petals. The sensitised area has irregular hand-brushed edges, leaving a narrow border of uncoated white paper. Brush strokes are especially visible along the upper and lower edges. The print has developed the rich, dense blue characteristic of a fully oxidised cyanotype.

Image 2 — Bleached cyanotype

The same 8 × 8 inch dahlia cyanotype immediately after bleaching and before tea toning. The print lies wet in a clear processing tray. Most of the intense Prussian blue has been removed, leaving a much paler grey-blue and slightly yellow-brown image. The dahlia remains clearly visible, with individual petals and the darker central structure retaining considerable tonal detail. The previously deep blue background has become soft and muted, while the flower’s lighter petals are now almost cream in places. The irregular hand-coated border remains visible around the image. This intermediate stage prepares the iron-based image for subsequent toning with tannins from strong black tea.

3504

Jevon Carey @jevoncarey.bsky.social · 18/08/2026

Dahlia, Cyanotype in Progress Out of the wash and into the drying cabinet to oxidise overnight. Tomorrow, bleaching and toning in a nice brew of Yorkshire Tea. #photography #cyanotype #alternativeprocess #analoguephotography

A square cyanotype print of a single dahlia flower, shown immediately after washing and before final oxidation, bleaching and toning. The flower fills most of the coated area, its layered petals emerging in pale blue and white against a rich, dense cyan-blue background. Fine tonal gradations remain visible across the petals, especially toward the centre, where tightly folded forms create a more intricate pattern of light and shadow. The hand-coated sensitiser extends almost to the edges of the paper, leaving an irregular white border and visible brush marks along the top and lower edges. The print rests inside a clear plastic washing tray on a wooden surface. The image was made from a digital negative created from an original monochrome photograph of the dahlia.

4807

Jevon Carey @jevoncarey.bsky.social · 16/08/2026

Gedney Marsh Nikon FE · Nikkor Auto-S 50mm f/1.4 Ilford Delta 100 · FX-55 #filmphotography #blackandwhitephotography #believeinfilm

Black-and-white photograph of a flat, open landscape at Gedney Marsh, Lincolnshire. The horizon sits very low in the frame, leaving most of the image to a vast, pale sky that darkens subtly toward the top. In the foreground, a ploughed field fills the lower strip of the picture. Fine parallel furrows run across the earth, while a broader cultivated curve sweeps in from the right and bends toward the centre. Along the distant horizon, a few slender telegraph poles punctuate the emptiness, with a small dark hut standing slightly right of centre. There are no people, vehicles or trees to interrupt the openness. A landscape reduced almost to its simplest elements: earth, sky, a few poles and a small hut on the horizon. The cultivated curves in the foreground are just enough to disturb the immense horizontal stillness. The overall effect is spare, quiet and geometric, with the tiny man-made structures emphasising the scale of the marsh and the dominant expanse of sky.

1520