These photographs, printed from glass negatives, appear to have been made as record pictures for a local authority’s highways department. Found in an old camera shop, the title “Blind Corners” was inscribed on the lid of their box. The negatives’ badly damaged emulsion was restored digitally.

They are exceptional for their quotidian realism. Their compositional clarity and grace are a product of pragmatism and the cultural unconsciousness. The photographer’s remit would have been to present the clearest possible views of these potentially dangerous road junctions, and this would have inevitably led to a classically composed landscape view, as exemplified in photography by such artists as Charles Marville and Eugene Atget, and latterly, by Thomas Struth.

Such is their scrupulous depiction, they have the vividness of a dream’s reality, conjuring a lost world on a weekday mid-morning. Paradoxically, they attempt to photographically record the invisible – the blind corner - which is necessarily obscured.