Day 365/365 Kaohsiung Old & New: The Last Frame of a 365-Day Year
A tiled apartment block, a glass tower and a noodle shop in the shadow between them: the final frame of a 365-day project. Theo Marr looks at what makes the old and new Kaohsiung work together, where the picture falls short, and what to do with a year of daily photographs.
Day 364/365 Four Frames, One Keeper: A Yellow Truck, Blue Neon and Day 364
A yellow rubbish truck under blue neon, and the three frames that did not make it. Theo Marr looks at one sharp picture out of four, what ISO 6400 cost, and why a year of daily photographs includes plenty of nights when the camera gets it wrong.
Day 363/365 The Shadow Takes the Lead: A Late Afternoon on Kaohsiung's Great Harbor Bridge
A long late-afternoon shadow stretches across the curved white form of Kaohsiung's Great Harbor Bridge while strangers drift away along the deck. Theo Marr looks at how a wide lens and low sun make a silhouette the main event, and where the clutter creeps in.
Day 362/365 The Building's Lungs: A Rooftop Blower and the Kaohsiung Skyline
A battered blower and a dented steel duct take centre stage on a rooftop, with the city skyline as backdrop. Theo Marr explores how an 11mm lens turns plant equipment into portraiture, where the tones and the sky let it down, and what a smaller aperture would add.
Day 361/365 Three Pipes, Three Primaries: A Found Triptych in Red, Yellow and Blue
Three giant ducts in yellow, red and blue stand before a glass wall like a sculpture Mondrian might have drawn. Theo Marr looks at why this square frame works, what the foreground gives away, and how to make colour and geometry pull together.
Day 360/365 A Sharp Boat in a Moving World: Panning the Qijin Ferry
At 1/8 of a second, the Qijin ferry holds its detail while the harbour streaks past. Theo Marr looks at how this dusk panning shot works, where the blur helps and where it hurts, and how to turn one good crossing into a repeatable technique.
Day 358/365 The Cardboard Cyclist: A Level Stare Across the Crossing
An older man crosses the road on a bicycle piled high with cardboard, and fixes the lens with a wary, unblinking stare. Theo Marr looks at what makes this square street portrait work, what the heavy crop gives and takes, and how to keep the trust of the people you photograph.
Day 357/365 The Alley Looks Back: Layers of Old Kaohsiung
A narrow back lane, a wall of iron grilles and a tower looming behind, and a man in a wheelchair who looks straight at the lens. Theo Marr unpacks the layers of this Kaohsiung alley, why the story works, and where the corner of the frame gets crowded.
Day 356/365 Curves in a Cage of Angles: A Tower Through the Ceiling
A curved apartment tower glimpsed through a jagged opening in a ceiling, the sky burned to pure white. Theo Marr examines how a frame within a frame turns a plain upward glance into a graphic puzzle, why the white sky works, and where the edges stop helping.
Day 355/365 Where the Light Splits: A City Canal in Afterglow
Orange fire on one side of the water, dark apartment blocks and a string of lamps on the other. A canal at dusk, and a sky that turns from amber to plum. Theo Marr looks at how this widescreen frame works, where its edges fight back, and why a calmer right-hand side would let the colour sing.
Day 354/365 The Blind Eye in the Middle: Lenses Under Hard Light
Three pill-shaped windows, two with lenses and one staring back blank, cut by hard light into long, graphic shadows. Theo Marr looks at how a humble close-up on an iPhone becomes a study in rhythm, texture and dust, and what a quick wipe, a lower exposure and a series could add.
Day 353/365 The Sidelong Glance: A Seated Portrait Among the Scooters
A man on a low wall, a cigarette hanging from one hand and his gaze pulled elsewhere. Behind him, scooters, steel railings and a flare of low sun. Theo Marr looks at what holds this street portrait together, what crowds it, and how a small step sideways could separate the sitter from the clutter.
Day 352/365 Out of the Dark: A Self-Portrait Built from Light
No backdrop, no studio, just a sofa in the middle of a room and a flash shaped by a gobo. Theo Marr looks at how controlled light turns an ordinary room into a black void, and where this self-portrait could go from here.
Day 351/365 The Big Yellow Bet: A Taiwan Lottery Corner at Dusk
Two enormous billboards, a glowing shopfront and a pair of cables slicing across both. In one frame, Taiwan's lottery culture gets a deadpan portrait at dusk. Theo Marr explains why this is your first uncropped frame, and where the odds could still be improved.
Day 350/365 Roofs Like Waves: Jiadong's Terracotta Courtyard From Above
From a high vantage in Jiadong, a sea of terracotta tiles surrounds a quiet courtyard. The colour is superb, the light is soft, and yet something crosses the frame. Theo Marr looks at what works, what intrudes, and how a smaller aperture could pull the whole scene into focus.
Day 349/365 Split Decision: Kenting's Headland at the Edge of Dusk
A Kenting headland, a storm-blue sky and a last ribbon of peach light: on paper, everything is here. So why does the picture feel split in two? Theo Marr reads the horizon, the cropping habit and the shadows, and shows how a calm sea becomes a decisive photograph.
Day 348/365 Rust in Bloom: A Retired Kawasaki and Its Garden of Succulents
A rusting Kawasaki 125 sits wrapped in succulents in this Leica D-Lux 8 frame from Taiwan. Learn why soft midday light flatters old metal, where the composition tries to say too much, and what seven days of shooting reveal about your habits behind the lens.
Day 347/365 Wide Open After Dark: Two Walkers on a Lamp-Lit Taiwan Street
A Leica D-Lux 8 night street photograph, shot wide open: two strangers mid-stride and a lane full of competing light. Find out what this monochrome frame gets right, why the lower quarter of the square does so little, and what six recent images reveal about your cropping habits.
Day 346/365 The Light Left On: A Taiwan Church After Dark
A neon cross hovers over stone and stained glass in this Ricoh GR III night study from Taiwan. Discover how a slow handheld exposure delivered clean blacks, which small distractions chip away at the frame, and the one shooting habit worth changing before your next after-dark walk.
Day 345/365 Eyes Open in the Blur
While the street smears into streaks, one pair of eyes stays sharp. Theo Marr looks at a close-range Ricoh GR III scooter portrait shot at 1/20 second in natural light, and asks how much chaos a frame can carry before the calm at its centre starts to get lost.