The Greatest Liar in All the World

A darkly funny sequel to the story of Pinocchio: the carnival is breathing its last breath and with it so is The Liar.  Tired of his lies, he hijacks the performance at gunpoint to tell the real story of his infamous origins.  The panicked cast of freaks and misfits do their best to lead the audience on a journey from his conception to the love and loss of the beautiful blue haired girl.  Filled with live music, puppetry, physical theatre and clowning, The Liar twists and tweaks reality in this raucous cautionary tale.

The cast for this production make for some splendid photo opportunities.  Their superb outfits and makeup set them apart from several displays from the fringe.  There is an air of strangeness keeping these characters active on the High Street.  With the aid of August sun shine and fill in flash the intense attitudes of the actors offer compelling viewing.

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Photographs ©2013 PHH Sykes

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Roslyn Chapel Valentine's Post Cards

This is the framed set of Valentines cards used to advertise the cards for sale at Rosslyn Chapel.  The photographs of them were taken in 2009.  Although the originals may have been strictly monochrome I have colour processed these images to better show their current state of preservation and to illustrate the beautiful shades that time has brought to these printed works.  I do not own the original postcards nor do I claim to own the copyright of them.  My copyright notice is issued here in relation to the images taken by me.  It is worth noting that the cards issue the name of the chapel as Roslyn, today it goes by the name Rosslyn and the village close by is Roslin.  Time and tradition can be generous in giving us place names to ponder over.

Valentine’s of Dundee produced Scottish topographical views from the 1860s. 

The Valentine business had been based on engraving and printing.  In 1851 James Valentine added portrait photography to the Dundee business.  Valentine used a converted barouche as a mobile darkroom.  Valentine’s views in the nineteenth century covered locations opened up to the middle and upper class tourist market.  It was possible to buy drawing room albums containing selections of photographs arranged geographically and also to have individual larger prints. The prints were available in a choice of sizes, Cabinet, Imperial and Card.  Stereoscopic views were also produced and sold in boxed editions to accompany the stereoscopic viewers.  Locations were chosen throughout Scotland and from 1882 English sites were included.  By 1900 Valentine’s images covered resorts beyond the United Kingdom including Norway, Jamaica, Tangiers, Morocco, Madeira and New Zealand.

©2009 PHH Sykes

Edinburgh Festival Fringe Fancies

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