No photograph that is displayed and posted on this blog may be reproduced, copied, stored, manipulated or used in whole or in part of a derivative work without the prior written permission of the Copyright (c) Owner & Photographer: Trevor David Betts BA (Hons). All rights reserved.


If you want to use any of my photographs displayed upon this blog, for inclusion in an essay, presentation, talk, or for posting on your blog or web site. Or for use in any other way or means. Then it would be very much appreciated if you could contact me first (as a matter of courtesy and decency) to seek my permission to use any of my photographs. Failure to do so is breach of my copyright and rights.

Sunday, 30 August 2009


Now I should not imagine that this piece of garden furniture has washed up here. This discarded item sits in front of a collection of concrete "tank blocks" from the Second World War era, that now form part of the sea wall defences against the North Sea.

Spurn Point, East Yorkshire, England.

From the Traces from along the Edge Project, 2005-.

Copyright of all images and work displayed on this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Tuesday, 25 August 2009



It was in the summer of either 1982 or '83 that a friend and I attended a pop concert in London. We then stayed an extra day to take in a few sights. I'd just bought an Olympus OM10.

I tried a few shots in Trafalgar Square. It was my first 35mm camera and I was trying to make sense of all those strange figures on the lens barrel and the shutter speed dial.

My friend was yelling at me to get a move on when a long-haired bloke with a camera bag approached me. 'Having problems?' he grinned. I was indeed having problems. As the camera lacked the add-on manual adapter, I'd been trying to sort out shutter speeds and apertures when in actual fact all I needed to do was just set it on auto, select an aperture and fire away. I didn't know this, of course until my knight in shining armour told me .

My friend sat there waiting for me to take her picture, and I was about to do so when my charming new pal said, 'Hang on a minute'. He took the newspaper out of my pocket, opened it and stood sideways on to my friend. He explained that by using the paper to reflect the light on to my friends face it would help control the contrast.

I pointed to his bulky camera bag and asked if he were a professional photographer. He nodded and I made a joke about how he must be loaded. He smiled and said, 'I do OK'.

After I'd thanked him for his help he reached into his bag, pulled out two rolls of film and handed them to me. 'Try it' , he said. 'You might like it'. What an absolute gent, I thought and with a smile he was on his way.

A couple of months later my late dad bought a copy of a now long-gone photo magazine. Inside was a portfolio by a world-famous photographer called Bob Carlos Clarke. As I sat gazing at a shot of a crashed helicopter my gaze then went to the small portrait of Clarke at the head of the page. It was him - the bloke who'd come to my aid. When I excitedly told my dad he was as stunned as I was.

We noted from the article that Bob was was a huge fan of Kodak Tri-X. I rushed to my room and dug out the two rolls of film he'd given me. Tri-X I'd noted. It was those rolls of film and a little help from my photography-mad dad that got me into processing and printing mono, which I have been doing ever since.

It was so sad when Bob took his own life, and he has been saddled with the 'troubled genius' label. He may have ended his life deeply troubled, but I will never forget the kindness he showed to an out-of-her depth Geordie lass trying to get to grips with her first camera.

From an article in the Back Chat section of Amateur Photographer magazine by AP reader Susan Cave, 22nd August 2009. An edited version is displayed here.

Footnote: I have heard a similar story from someone who I used to know, when he talked to Bob at the annual Focus on Imaging show held at the N.E.C, Birmingham in 1989. He obviously had time for people and was approachable.

I like no doubt many other serious photographers was very upset to hear of his passing in such tragic circumstances. I have one of his prints that takes pride of place on my living room wall.

Sunday, 23 August 2009


The shadows of various trees are cast onto a footpath.

Bardney Lime Woods, Near Wragby, Lincolnshire, England.

From the Tree Stories Project, 2003-.

Copyright of all images and work displayed on this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Saturday, 22 August 2009


Just after some rain on a winter evening, the traffic lights are reflected in a puddle on the pavement, along with the wheel of a bicycle.

Kingston upon Hull, East Yorkshire, England.

From a personal project about urban nocturnal photography, 2007-.

Copyright of all images and work displayed on this blog spot is the exclusive property of Trevor David Betts. All rights reserved.


A wild young common seal. An experimental image in the sense that the print was briefly exposed to white light i.e. solarisation (in the darkroom) then developed, stopped and fixed not quite as normal though. I then increased the contrast when scanning the print. But it looks okay to me. None of the seals were disturbed by me, during the photography.

Somewhere on the Lincolnshire Coast, England.

From no specific project as such, 2005.

Copyright of all images and work displayed on this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Sunday, 16 August 2009


This young dog is recovering from a canine virus, in the Recovery Kennels of the Hull branch of the People's Dispensary for Sick Animals (PDSA).

The PDSA Animal Treatment Centre, Kingston upon Hull, East Yorkshire, England.

From the For the Animals Project, 1989.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.


This particular project came about after I had just watched Tim Burton's film "Sleepy Hollow". I was really impressed with the dark brooding sets, the trees in the woods.

As such I have always being a lover of the countryside rather than the city. And obviously like many other people I fully understand and appreciate the vital role that trees play within the environment. However I feel that we do not treat them with the respect that they deserve. We seem to be hell bent on obliterating trees from the landscape.

Trees give you shelter, furniture, tools, medicines, food, heat, fuel and many other vital items. The English long bowmen would have being lost without the Yew and Willow trees. Trees play a vital role in absorbing noxious gasses, they are the lungs of this planet. Instead of cutting them down, we should in my opinion be planting millions, and taking greater care of all the old and established trees and woodland.

Hence this project which seeks to portray trees in a positive light by showing their natural beauty, presence and role within both the urban and rural landscape. It has proved to be one hell of a project to embark upon mainly because it is such a huge project to undertake. The scope and scale is mind-blowing. That is why it is an on-going project which will keep me occupied for a while, or at least until I am satisfied that I have done the subject justice.

There is so much to photograph, and many established woods and forests to visit within this country. To date I have visited and taken photographs for this project at the following locations:
The New Forest, Sherwood Forest, Millington Woods, Broughton Woods, Dalby Forest, Kielder Forest, Bardney Limewoods and many other locations in Staffordshire, Lincolnshire, Northumberland, Norfolk, Derbyshire, East, West and North Yorkshire etc.

Right from the outset I decided to use just monochrome film and to photograph both in daylight and after dusk. Some of the images from this project appear on this blog. To date this project has being very enjoyable and I have learned a great deal through my research into the history, folklore and geography of trees.

Tuesday, 11 August 2009


Another early winter's evening shot, of the area near to the pier (between the River Humber and the Marina).

Kingston upon Hull, East Yorkshire, England.

From a project about urban nocturnal photography, 2007-.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Sunday, 9 August 2009


A different perspective on the old former Bus Station (now replaced by the new Interchange).

Kingston upon Hull, East Yorkshire, England.

From the Chasing Shadows Project, 1997-98.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.


The late autumnal afternoon sunshine creates shadows from a plastic fence line and casts these shadows onto the beach in this sepia toned print.

Donna Nook, Lincolnshire, England.

From The Next Wave Project, 1996-98.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Saturday, 8 August 2009


Traffic light trails and street lighting illuminates two well established and mature London Plane trees at rush hour.

Anlaby Road, Kingston upon Hull, East Yorkshire, England.

From the Tree Stories Project, 2003 -.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.


As well as checking your equipment before venturing out on a photographic shoot. It would be good practice to perhaps also include a risk assessment at the same time, which could read as follows:

  1. Location, where, how to get there (route plan), time to get there, time of and length of shoot. Special considerations for example if by the sea, tide tables and times, weather forecast etc.
  2. Any history and reputation especially if it is an urban location, if in doubt stay away and don't take photographs at this location.
  3. Time of photography during daylight, dusk or after sunset.
  4. Equipment needed including extra or specialist items for example if shooting at night take a small torch, change for car parking, mobile phone etc. It might be also advisable to ask a friend to accompany you, to keep an eye on your back and for company as well.
  5. Do prior research on location, subject and anything else that is relevant. Remember the 7 P's: Perfect Prior Planning Prevents Piss Poor Performance, and Kiss: Keep It Simple Stupid.
  6. Always let someone know where you are going and give an estimated time of return, especially if you are a young or female photographer, and doing a night-time shoot.
  7. After dusk always know the environment around you, keep one eye open for potential trouble. I have found the best time to do urban city centre after dusk photography is when the clocks go back say from late October to late January before it gets too cold for productive photography. You can do photography between the hours of 4 to 8pm before all the anti-social elements and drunkards venture out. Just dress accordingly and wrap up well. Not only that, at this time of year the light is cleaner and crisper.
  8. Be aware of your rights, do not trespass on private property, obstruct the highway with your camera equipment and tripod. Please see relevant web site addresses for more detailed information on this issue.
  9. Do not take photographs of banks, prisons, military installations, marinas, and government buildings. I have included marinas because I was once accosted by a boat owner who thought I was an international boat thief taking photos for to steal to order (I ask you). Mind you I have no doubt that this does happen.
  10. Be wary of shopping centres, as well if in doubt get written permission first. Most of these are on private property (including the pavement and area outside and surrounding the building).
  11. There are many web sites where you can perhaps download a copy of "Photographer's Rights" in a pdf document. I suggest that you carry a copy in your camera bag or pocket for reference. It would be also advisable to carry an ID type card and any business cards with you.
  12. If you are a student let your course tutors know your plans and where you will be photographing.
  13. Be responsible, obey any laws or restrictions and be polite. Above all enjoy your photography.
  14. Also if you promise to send or give someone a print, then please make sure you keep your promise (photographers who don't, give other photographers a bad name).
  15. Do you have permission, a permit or license to photograph at specific locations? This can include certain species of flowers or plants and animals. Contact the relevant organisation well in advance to apply for permission, a permit or license.
All of this is common sense really. Hindsight is a wonderful thing but good prior research will avoid a lot of problems in the long term. This is just a general guide, there are obviously many other issues and items that you could include. I hope this is of some use to you.

Useful web sites:
In relation to Photographers Rights.

Sunday, 2 August 2009


The Marina end of Humber Street on a damp and cold early winter's evening.

Kingston upon Hull, East Yorkshire, England.

From a personal project about the old Fruit Market, 2007-.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.


British World War Two Veteran Ben Bainbridge poses for my camera in the front room of his house. Ben was a Sergeant in the RAF Regiment.

Kingston upon Hull, East Yorkshire, England.

From the A Different Time and a Different Place Project, 2000-01.

Copyright of all images and work displayed upon this blog spot are the exclusive copyright of Trevor David Betts. All rights reserved.

Saturday, 1 August 2009


This well established and well-known automotive giant's logo is reflected in the paint work of this car in the showroom.

Anlaby Road, Kingston upon Hull, East Yorkshire, England.

From no specific project as such, 1997.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts All rights reserved.



To my Photo Blog,

All my monochrome photography is darkroom produced. This portfolio consists of photographs from several of my projects, assignments, personal and course related work. Some of these monochrome photographic prints are then selectively toned.

Take a look at the slide show, or the popular posts. Click onto some of the many excellent blogs that I have listed in my blog roll. I welcome constructive feedback (post a comment).

Click onto the links in some of my posts which will then take you to the relevant website link where you will be able to find out more about that location, charity or organisation etc featured in the post and which is relevant to that specific image.

Also please click onto my links. Join my blog and my Google + followers. If you would like to know more about any particular photograph or project then please send me an email. My email address is at the foot of this page.

Also from time to time I will post videos that are of interest to me, mainly from my military background.

Yours sincerely

Trevor David Betts BA (Hons)




Top Blogs



BlogFlux Tools

Blogorama - The Blog Directory











All the photographs featured on this blog spot were taken on Canon analog 35mm SLR cameras which included: Canon A1, Canon AE1 (non-programme) and Canon T90. The Canon A1 was rendered useless after prolonged exposure to salt spray residue, and the AE1 suffered a malfunction, and one of my T90s just packed up on me during a photographic shoot.

Most of my camera equipment was initially purchased brand new, then as the years have past I have purchased second-hand equipment. But the vast majority of equipment I currently possess is well over twenty years old.

Canon FD lenses used were: 28, and 35mm wide angle, 50mm standard, 35-105mm short telephoto zoom and a 70-210mm large telephoto zoom lenses. Also used was a loaned Mamiya 645 with 50 and 80mm lenses. My favourite combination is a T90 fitted with the 35-105mm lens with an Hoya orange filter. I use Hoya orange, red, neutral density, and skylight filters. Hoya and Canon lens hoods. A Canon remote cable. I have used a great Metz 45 CT-4 flashgun for many years. I used this for the bounced and fill-in flash for some of the documentary and portraiture work.

Studio flash used was Courtenay brolly flash (just two heads fitted with soft boxes) at Hull Community Artworks studio (sadly this excellent local arts facility closed in 2001). Billingham and Tamrac camera bags (the Billingham is a old model that I have had for years - wonderful bags). The Tamrac one is a medium sized back pack type bag. Slik Black Diamond 88, and 500 DX Pro tripods. A Cullmann touring set (which consists of a light tripod, ball and swivel head, all-purpose clamp, suction cap, and a ground spike). I presently have three Canon T90 and one A1 SLR cameras.

Film used was mainly 35mm (with some 120mm). Ilford Delta monochrome negative print film, 100 asa (a few rolls of 400 asa as well). Ilford HP5 and FP4 (400 and 125 asa respectively). Fuji Neopan 400 asa. Various Fuji colour film. Photographic chemicals: Ilford ID-11 and Microphen film developers. Agfa Rodinal fine grain film developer, and Ilford Hypam fixer.

Photographic paper: Ilford Multigrade IV VC paper, Fibre based VC paper including warm and cool tone. Kentmere Velvet Stipple and Art Document papers. Kodak selenium toner. Barclay and Fotospeed sepia toners, and Colorvir blue toner. Durst M60 and Meopta 5 enlargers fitted with 50 and 80mm Schneider lenses. Kenro negative sheets and Jessops negative folders.

Most of my photography involves the use of the camera being securely mounted onto the tripod, with the shutter set to the 10 second delay. I bracket my exposures (relying on the excellent Canon in-camera meter). My aperture settings are usually between F5.6 and F22. In the vast majority of cases the very first exposure I take is usually the correctly exposed one.

Finished photographic prints (spotted if needed). At the 10 x 8 inch size are then scanned on an Epsom 1660 photo perfection scanner using Adope Photoshop CS2 at the 5.5 x 3.5 inch image or canvas size, 150 dpi and at the 750 x 550 pixels size, and saved as for the web. The only thing that is manipulated is the brightness balance and contrast levels.


"It is the soldier, not the minister, who has given us freedom of religion.

It is the soldier, not the lawyer, who has given us the right to fair protest.

It is the soldier, not the politician, who has given us freedom of speech.

It is the soldier, whose coffin is draped by the flag, who allows the protester to burn the flag."

From: "Fighting for Queen and Country,
by Nigel 'Spud' Ely. Blake Publishing London, 2007.