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Teenage Kicks Through a Tiny Screen

A hand went up three rows ahead of me and suddenly I had my shot. The Undertones were tearing through their set at Cyprus Avenue in Cork, the stage lights throwing fat circles of purple and magenta across the room, and this person decided twenty seconds of shaky phone footage was worth the effort. It gave me the frame-within-a-frame I’d been waiting for!

Everything around it dissolves into these massive, dreamy bokeh orbs that make the whole scene feel slightly unreal. I shot it wide open and let the background go completely, trusting that the phone screen would anchor the image. It’s one of those concert moments that sums up how we experience live music now. We’re half watching, half recording, the real thing and the digital copy sitting right next to each other.

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St. Finbarr’s Oratory at Dawn

Nine exposures, three positions, and a lake disturbed by a biting wind. That’s what it took to stitch this panorama together at Gougane Barra just after dawn. The sky refused to cooperate with anything dramatic, so I leaned on the scene itself: the oratory sitting quietly on its spit of land, the water holding just enough calm to throw back something of a reflection, and those bare winter trees looking atmospheric without trying. Did I say it was cold? My fingers were feeling it.

I’d have traded my tripod for a bank of broken cloud, but you work with what the morning gives you. The HDR merge kept detail in the shadowed chapel walls without blowing the sunrise glow, and the reeds breaking through the water surface add a bit of texture to what would otherwise be a fairly smooth lower half. It’s not the Gougane Barra postcard shot. That needs mist, or rain, or both, but there’s a stillness here that I quite like.

Dawn Sentinel at Gougane Barra

A bunch of us arrived in Gougane Barra this morning to photograph the sunrise, only to be met with driving rain and mist and fog on the hills. A biting wind tore through clothes making for a missed opportunity for all of us.

Luckily, within a few minutes of arriving, a glow could be seen on the horizon, and the rain started to thin out. In another 10 minutes the sky was almost completely clear, as if nothing had happened!

Ironically, I would have liked some high cloud for the sun to bounce off before it rose, but it wasn’t to be so I decided on a silhouette of the tree near the oratory instead. That would fill in the sky nicely.

Donncha Ó Caoimh always takes cool photos. #Photography

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K67: A Relic of Slovenian Design in London https://inphotos.org/2026/03/26/k67-a-relic-of-slovenian-design-in-london/ #2025, #Architecture, #K67Kiosk, #London, #Photo, #Photography, #Reflection, #SašaMächtig, #SonyA7RV, #SpitalfieldsMarket, #StreetPhotography, #UnitedKingdom, #Urban, #UrbanDesign, #Yellow

K67: A Relic of Slovenian Design in London

It’s impossible to miss this kiosk. A bright yellow box parked outside Spitalfields Market, looking like it had been teleported in from a 1960s sci-fi film set. This is a K67 kiosk. It’s a modular street unit designed by Slovenian architect Saša Mächtig in 1966 and one of the most successful pieces of street furniture ever produced. Thousands of these were manufactured and scattered across Yugoslavia as newspaper stands, ticket booths, and telephone kiosks. Now one sits here on Brushfield Street, stuffed with art books and posters, quietly holding its own against the glass and steel of modern London.

What caught my eye was the reflection in the window beside it. The kiosk is doubled, ghosted against the Victorian brickwork behind the glass. Three eras layered in one frame: nineteenth-century London, Cold War-era Slovenian industrial design, and the sleek commercial architecture of today. The little yellow box wins.

Iron Bones

I nearly walked straight past it. You’re on the South Bank, dodging cyclists, and there’s this railway bridge overhead that most people treat as a ceiling to hurry under. But look up and the underside of Blackfriars Railway Bridge is a riot of riveted iron girders fanning out like the ribs of some enormous mechanical whale. I switched to black and white because the colour version was fighting the composition; stripping it back let the geometry do the talking.

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Two in the Market

I caught this one from barely a metre away. It was close enough to count the grey in his beard, close enough that the glass roof of Spitalfields Market softened into geometry behind them.

It was early in the morning and the market was still being set up. I wonder if they were tourists in the area just like me.

Steel and Storm Over Bishopsgate

We’d come out of the train station at Liverpool Street earlier in the morning but when I walked past here, I stopped dead on Bishopsgate, tilted the camera straight up, and watched three towers race each other into a sky that looked like it was about to pick a fight. The central building’s white steel exoskeleton catches what little light the clouds allow through, while its darker neighbours absorb everything else. Glass, steel, and corporate ambition stacked floor after floor.

The bright yellow Liverpool Street sign is almost the only colour in the scene. What does that say about office work in the modern world?

TIL that the distinctive diagonal-braced tower at the centre of this shot is 100 Bishopsgate, which at 172 metres tall, is one of the City of London’s tallest buildings. Bet there’s a nice view from the top floor!

Between the Columns on Threadneedle Street

I’m not sure what was so engrossing on that phone but I suspect it was a review of images, especially outside the Bank of England in London and those enormous Portland stone columns. A perfect place for a dramatic photoshoot.