“I remember my dad taking me to school, when I was very young, when my mother was ill.
The feel of his huge hand wrapped around mine, rough and hard and warm.
The length of his strides, and having to run to keep up.
The very cold days when he’d wrap his scarf around my face until it almost covered my eyes, and when I breathed in I could smell him in my mouth, damp cigarettes and boot wax and the same smell as his hair when he said goodnight.
I remember how safe I felt, wrapped up like that, blinded.”
“if nobody speaks of remarkable things” John McGregor.
” I just did the objects as we moved and packed them at the Ash (Ashmolean), tiny things to large quern stones, with a photographic stand etc, most of them turned out okay, but they were for record purposes only, not studio type photos. And the light was not always good, the sun came across the roof so we got shiny bits on the photos. For arch (archive?) objects we always do the back and front if appropriate, ie coins. Obviously as close up as possible to see the detail, but avoiding unfocusing. I also used small bits of plastozote (firm foam type material) to hold small objects like rings if I wanted to photo the front, (the intaglio or jewel in the centre), otherwise the photos would see the rings or such objects on their sides if not held in place..” Christine E, retired archivist Ashmolean Museum, Oxford.
The colour temperature isn’t matched, the scale is slightly different – but I suspect it is, like most things, about practice and I shall continue to do so. I wanted to start with his signet ring. It was cut, along with another ring, from his fingers. Signet rings are about identity, usually engraved with initials, I can only see the slightest possibility of an identifier. What I see clearly is a very thin band covered in evidences of work.