“Then I decided that this disorder and this dilemma, revealed by my desire to write on Photography, corresponded to a discomfort I had always suffered from: the uneasiness of being a subject torn between two languages, one expressive, the other critical; and at the heart of this critical language, between several discourses, those of sociology, of semiology, and of psychoanalysis — but that , by ultimate dissatisfaction with all of them, I was bearing witness to the only sure thing that was in me (however naïve it might be): a desperate resistance to any reductive system.”

— Roland Barthes, Camera Lucida

This is a beauty of dissonance…

Rocks of Peggys Cove cropped bw watermark

Spume and Blown Windrift watermark

This is a beauty
of dissonance,
this resonance,
of stony strand

— from “The Lonely Land” by A.J.M. Smith


If you know me at all, whether in person or online, then you probably know that my heart lies with rocky coastlines along the Atlantic Ocean (evidence: here, herehere, here, and here). I’ve also talked before about how when I was living in Halifax I would often drive out to Peggy’s Cove in the off season in search of new ways to look at what is a pretty iconic tourist destination. These two very different images come from one such trip on a very windy April day. It was cold, the sky was dramatic, the waves were even more dramatic. I also love that these two images capture very specific elements of what makes up the Peggy’s Cove experience. I think that dissonance is part of the appeal of most East Coast locations for me; I like that you can turn your head and experience something completely different. I like that the elements can be seen individually or in conversation with one another. I like that you can get vastly different images when standing in exactly the same spot depending on the time of year or how you aim your camera lens. The places feel familiar but they also always feel novel.

Images above: “Peggy’s Cove (No Ocean)” and “Blown Spume and Windrift,” both now available in the shop.

Wednesday Words

Renamed. Reworked. Same basic premise as the “Required Readings” I was doing before.

I recently wrote a review of Sue Sinclair’s Heaven’s Thieves, and I still find myself thinking about it almost daily.


The shoddy balconies,
sliding glass panels,
reflected swirl
of leaves.
Why does everything
that appears in glass
look like a face?
The mirror-trees stand half
in this world and half somewhere else,
a place not necessarily better than this one
but faraway
and therefore enviable.

— from Heaven’s Thieves (Brick Books, 2017)

Reading Watching Listening


Wine. All the Time. by Marissa A. Ross. The book has blurbs from both Mindy Kaling and Leandra Medine, so OBVIOUSLY I was going to get it. And it’s great. I’m now swirling and smelling and sipping and taking tasting notes. I’ve learned A LOT. Plus Ross is hilarious and I kind of want to be her best friend.


Fleabag. WHY DIDN’T I WATCH THIS SOONER!? Phoebe Waller-Bridge is brilliant. It’s dark. It’s twisted. It made me sob. Really sob. The pacing is so spot on. The comedic rhythm is just off kilter in a way that works so well. Breaking the fourth wall has never worked so well. I’m already excited about season two.


Vanessa Carlton. Because it felt really right the other night and still feels pretty right.

The Ocean Calls

The Ocean Calls (Summer) watermark

Ocean Calls Spring watermark

The ocean calls to me all year long. Honestly. I grew up landlocked, so I’m not sure where the deep-seated desire to be near the ocean came from, but it is definitely there. I miss proximity to the ocean on a daily basis and get a substantial thrill each time I get near a large body of water. These are two photos of what will hopefully be a four photo series.

Top: “The Ocean Calls (Summer)” taken on the boardwalk at West Point Lighthouse on PEI

Bottom: “The Ocean Calls (Spring)” taken at Peggy’s Cove, NS

Both available as prints and more in the shop now.