Craft, Systems & Tradition
"Whether you are writing software, lighting an abstract macro photograph, choreographing eight dancers in full kit, or deconstructing an emulsion, the underlying task is identical: understand the mechanics, learn the rules of the system, and execute with precision."
Creative work is often discussed in vague, abstract terms. In practice, most craftsmanship relies on mechanical understanding, consistent practice, and an eye for structural patterns.
This page collects my work across photography, choreography, sleight-of-hand, and domestic formulation. None of these pursuits exist in isolation. The optics learnt behind a camera lens directly inform user interface composition; the spatial timing required for Morris choreography informs technical team leadership; and deconstructing a physical mechanism is identical to debugging a software engine.
Photography & Optics Showcase
Photography is applied physics. It is the practice of capturing light through glass, controlling exposure variables, and framing a composition so that a viewer sees an ordinary subject in an entirely new way.
My primary camera work was built around a Nikon D90 DSLR system, combining fast prime lenses, extension tubes, and off-camera lighting. As an active member of a local camera club (20–30 members with monthly competitions judged by visiting photographers), the focus was strictly on technical discipline, shutter timing, composition, and raster editing control in Photoshop.
Curated Works Gallery
Click any item below to trigger the optical inspection lightbox with full EXIF exposure metadata.
The Capability Pipeline: From Optics to Web Design
Mastering manual optical controls created a direct pipeline into my broader technical and professional work:
- Optical Mechanics → Technical Translation: Deconstructing exposure triangles, sensor sizes, and focal lengths provided the precise foundation required to train retail staff and customers on DSLR systems at Currys / Knowhow. (See /services for technical training capabilities).
- Raster Editing → Visual Web Composition: Deep experience with raster editing, colour space management, alpha channels, and visual hierarchy directly transferred into modern web UI design, layout balance, visual contrast, and image optimisation.
Gothic Border Morris Choreography & Systems
Morris dancing is often misunderstood as merely an informal folk tradition. In reality, Border Morris is a high-intensity, structured physical performance system based on spatial geometry, acoustic rhythm, team synchronisation, and visual impact.
As Squire and Foreman of Mafficking Border Morris, my responsibility covers both creative direction and group mechanics: designing original dance notation, teaching physical movement modules, managing team dynamics, and maintaining our distinct visual identity.
Mafficking Visual Kit Architecture
Mafficking's visual identity is rooted in a crisp, Gothic Victorian aesthetic (deliberately distinct from steampunk or heritage pastel folk styles):
- Base Palette: Deep, clean black tailoring (strictly no tatters).
- Individual Expression: Each member chooses their own personalised secondary accent colour paired with the black base.
- Presence: Unified in structure and presence, yet individualised in colour detail.
Movement Systems & Dance Engine Notation
Dance notation acts as source code for human movement. Below is a structural preview of the movement logic for Swanky and The Flux.
// DANCE NOTATION ENGINE: SWANKY (STRUCTURAL LOGIC PREVIEW)
// FORMATION: Octagon Set (8 People - 2 Top, 2 Bottom, 2 Left, 2 Right)
// TRADITION: Notswold Single Stepping | MUSIC: Jubilee Clip
[CALLS ORDER]: 1. Triple Circle | 2. Half Pike | 3. Front to Front | 4. Titchfield Hey | 5. Barn Doors
[CHORUS LOGIC]: In Pairs Sticking (1-2-3-4-5) → Spin Anti-Clockwise → Reverse Sticking → Spin Clockwise[+ View Complete Dance Notation for "Swanky" & "The Flux"]
// COMPLETE DANCE NOTATION ENGINE: SWANKY
// FORMATION: Octagon Set (8 People - 2 Top, 2 Bottom, 2 Left, 2 Right; 1-person gap)
// TRADITION: Notswold Tradition Single Stepping | MUSIC: Jubilee Clip
[CALLS ORDER]
1. Triple Circle | 2. Half Pike | 3. Front to Front | 4. Titchfield Hey | 5. Barn Doors | 6. Double Circle Off
[CHORUS (Executed between each figure)]
- In Pairs: Sticking forward and back (1 + 2 + 3 4 5). On 5th hit, raise stick high in air.
- Spin: Holding stick aloft, spin anti-clockwise to face the next person.
- In Pairs: Sticking back and forward (1 + 2 + 3 4 5). On 5th hit, raise stick high in air.
- Spin: Holding stick aloft, spin clockwise to return to facing first person.
[FIGURE 1: TRIPLE CIRCLE]
- Pass: Left and Right sides follow dancers 1 and 2, passing right shoulders to opposite end of set.
- Repeat: Repeated twice; left shoulders at top of set. Everyone crosses set (right shoulders) to mirror image.
[FIGURE 2: HALF PIKE]
- Middles: Turn on left leg to face out (staggered set). Reverse to opposite position, then forward again (same side).
Upon returning to place, spin on left leg then right leg moving along the set.
- Outer: Top and bottom couples repeat the same movement sequence.
[FIGURE 3: FRONT TO FRONT]
- Middles: Turn on left leg to face out (staggered set). Reverse to opposite position, then forward again (switch sides).
Upon returning to place, spin on left leg then right leg moving along the set.
- Outer: Top and bottom couples repeat the same movement sequence.
[FIGURE 4: TITCHFIELD HEY (Double A Music)]
- Pattern: Circular Titchfield in Octagon shape (2x2x2x2). Alternate up first, then side first, swapping diagonally.
(1st pairs cross, 2nd pairs cross, diagonal 2 clashes front-and-back, then swap).
[FIGURE 5: BARN DOORS]
- Middles: Move inward, turn up and down, line up. Top and bottom couples swing outward like doors, then reverse back to place.
- Top/Bottom: Top and bottom couples repeat by going in, turning left and right, then reversing back to place.
[FIGURE 6: DOUBLE CIRCLE OFF]
- Weave Off: Left and Right sides follow new 1 and 2, passing right shoulders to opposite end of set.
Left shoulders at top of set. Upon reaching bottom, weave off alternating Left and Right.
// COMPLETE DANCE NOTATION ENGINE: THE FLUX
// FORMATION: Circular / Set Formation (6 People)
// TIMING: "and a 1 and a 2 and a 3 and a 4" | MUSIC: Rochdale Coconut Dance
[CALLS ORDER]
1. Clashing Weave | 2. Wheels | 3. Loops and Staves | 4. Throws
[START]
- Very wide circle, moving inward to form a smaller circle.
- Bar 1: 1st corners move in to face each other | Bar 2: 2nd corners move in | Bar 3: 3rd corners move in.
[FIGURE 1: CLASHING WEAVE]
- Motion: Odds dance clockwise, Evens anti-clockwise. Right shoulder start, two hands on sticks.
- Sticking: Every pass hits Right then Left on the off-beat (Count: 1234 1234 1234 1234).
- Turn: 180-degree turn, repeat back to place in opposite direction. Move into set formation for chorus.
[CHORUS (Executed between figures - Corners sequence: 1st, then 2nd, then 3rd)]
- Step In: Corners step in 1 pace on Beat 1 of bar to align with 2 closest dancers; step back on Beat 1 of next measure.
- Hit 1: All standing forward hit across.
- Hit 2: Corners duck for low hit; others execute forward hit sideways over top of ducking corners.
- Hit 3: All standing forward hit across.
- Hit 4: Corners duck for low hit; others execute forward hit sideways over top of ducking corners.
- Cycle: Repeat 2 more times so all corners complete sequence.
- End Hit: (1) Top couple hit across, others hit in pairs. (2) Turn to hit next person. Repeat for 3 and 4 (x2).
[FIGURE 2: WHEELS]
- Bars 1-4: 2nd and 3rd pairs move outward toward musicians, forming 2nd circle. 1st pair rotate 360 degrees.
- Bars 5-8: Forward then back clashes across. Repeat back to original spot. Repeat Chorus (x2).
[FIGURE 3: LOOPS AND STAVES]
- Bars 1-4: 1st couple dance horizontally away from set; others follow maintaining set shape in a straight line.
- Bars 5-8: About turn; everyone follows dancers 5 and 6 who cross right shoulders, forming new set sideways.
- Bars 9-12: Line continues straight | Bars 13-16: Everyone returns to new set positions.
- Staves: Beats 1-4 Odds push Evens back; Beats 5-8 Evens push Odds back; Beats 9-12 Evens push Odds back; Beats 13-16 Odds push Evens back. Chorus (x2).
[FIGURE 4: THROWS]
- Formation: Middles move out to form circle. Timing: "and a Throw and a Throw and a Throw and a Clash".
- Sequence: 1st corners, 2nd corners, 3rd corners.
- Clash 1: Single clash in horseshoe | Clash 2: Double clash in horseshoe | Clash 3: Two ground clashes, step back.
- Final Set: Fourth set of throws in double time (123412). On 34, turn to face up, hold stick overhead horizontally.Leadership & Group Dynamics
Leading a performance side requires active synchronisation management:
- Squire Leadership: Managing team cohesion, rehearsal pacing, public presentation, and maintaining energy across multi-day festivals.
- Foreman Instruction: Breaking complex 16-bar dance sequences into small, trainable muscle-memory modules for dancers of varying experience levels.
Operational Web Link: The Mafficking online presence and media system are powered by a custom-built, zero-framework web platform. Read the technical engineering case study on the /projects page.
Sleight-of-Hand & Perception Mechanics (Historical)
Sleight-of-hand magic is an applied study in human psychology, attention management, physical practice, and spatial awareness. A sleight-of-hand movement rarely fails because of a physical mistake; it fails when the performer misjudges the audience’s focus.
Attention Direction
Human focus is a sharp spotlight, not a broad floodlight. Managing attention relies on giving an audience a natural, compelling reason to look at a specific point while physical actions occur elsewhere.
Off-Beat Timing
Mechanical shifts take place during moments of psychological relaxation: immediately after a point of laughter, a completed phase of movement, or when the audience assumes the action has paused.
Ergonomic Deception
Unnatural control must be concealed within natural movement. Tension in the hands alerts an audience; maintaining total physical relaxation under pressure is essential.
Culinary Deconstruction & Emulsion Formulation
Commercial mayonnaise formulations achieve shelf-stable emulsions using starch thickeners and high-shear processing, which can impact texture. This formulation experiment eliminates raw starch granules and perishable egg proteins, relying on precise hydrocolloid mechanics (xanthan gum) and an immersion shear blast to create a stable, smooth, high-gloss emulsion.
Formulation Matrix: Stable Egg-Free Emulsion
// FORMULATION MATRIX: STABLE EGG-FREE EMULSION
- 160 ml Rapeseed oil
- 1.5 tbsp Water
- 1 tbsp White wine vinegar
- 1.5 tsp Caster sugar
- 0.5 tsp Fine sea salt
- 1/4 tsp Mustard powder
- 1/4 tsp Garlic powder
- 0.5 tsp Lemon juice concentrate
- 1/8 tsp Xanthan gum (exact level spoonful; do not heap)
- 1/8 tsp PaprikaMethod & Mechanics
- Pre-Dispersion: Mix dry ingredients (including xanthan gum) together in a small bowl before adding liquids. Pre-mixing disperses the hydrocolloid particles and prevents clumping upon contact with liquid.
- The 60-Second Shear Blast: Pour oil, water, vinegar, and lemon juice into a tall jug, adding the dry mix on top. Hold an immersion blender firmly at the bottom on high speed for 20 seconds as the emulsion blooms, then draw the head slowly upward over 40 seconds to incorporate the top oil layer.
- Outcome: Removing egg yolk eliminates perishable proteins for improved shelf stability, while avoiding cornflour prevents graininess and yields a clean, glossy finish. Although the shelf life is expected to be 2 to 3 months, actual storage life has not been formally established. Treat the formulation as a refrigerated homemade food and apply normal food-safety precautions.