Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'Breakfast,' by Niall McDiarmid . We'd love to read your comments below about these insights and ideas behind the artist's work.

In the realm of contemporary photography, it's the ordinary moments that often whisper the loudest stories. Niall McDiarmid, a name traditionally synonymous with vivid street and portrait photography, ventures into a new domain with his latest work, "Breakfast." This collection, a departure from his usual bustling backdrops, zeroes in on the tranquil and often overlooked moments of the morning meal. Signed and freshly minted in its first edition, McDiarmid's book is a visual feast spread across 56 pages, featuring colour images that delve into the simplicity and beauty of the breakfast table.

At first glance, breakfast might seem too mundane a subject for the keen lens of a photographer like Niall McDiarmid. Yet, it's within this daily ritual that McDiarmid finds a rich tapestry to explore, transforming the ordinary into something decidedly extraordinary. "Breakfast" is not just about the food; it's an intimate glimpse into the quiet moments of reflection and anticipation that dawn offers. Through McDiarmid's eyes, we see the ever-changing play of light, the subtle arrangements of objects, and the personal significance of starting a new day. Inspired during a period of forced introspection—the lockdown—this series became a form of solace and a testament to finding beauty in the familiar surroundings of home.

Conceptual Genesis: What inspired you to focus on the seemingly mundane act of breakfast, and how did you discover beauty in this daily ritual?

I was drawn to the randomness of the colours and the distances between the objects in front of me on the kitchen table when I sat down for breakfast one day. I made a couple of photographs which I liked. I then began to photograph the breakfast table on a more consistent basis.

Creative Process: Can you describe your creative process for capturing the essence of breakfast over four years, especially considering the variability of light and objects?

I not sure why, but I don't have a huge memory of making the work. However I do remember the camera was often left near the table and I would pick it up when I felt the light was right. I would just take one or two shots and then put the camera to the side

Lockdown Influence: How did the lockdown and spending more time at home influence the direction or intensity of your project?

I had shot a few of the series before lockdown began. However I took most of the images and put together the whole series as a book during the Covid years. I'm a photographer who is out on the street making work regularly so that time was very difficult for me. On reflection making this series and the book was possibly a response to the situation

Technical Choices: Could you share any specific technical decisions you made in photographing your breakfast series, such as camera choice, lighting, or composition techniques?

Most of the work was shot on an old Rollieflex medium format film camera. As regards lighting, breakfast is usually at the same time every day so I would just have to take the light as it came. I couldn't wait around for the sun to shine, or the clouds to come. If I did everything would be cleared away and the moment would be lost. I also consciously tried not to move any of the plates, cups or cereal packets. I wanted it to be just as I first saw it. Oddly, since I did the Breakfast book, I haven't even made one breakfast shot again.

Personal Connection: What personal significance does the act of breakfast hold for you, and how has this project changed or deepened that significance?

Although we often eat breakfast in our house as a family, it can be the most solitary meal. We all chose different kinds of breakfast. Some take cereal, fruit, eggs or toast but rarely at the same exact time like lunch or dinner. I am often, like most people I suspect, thinking of the day ahead. I'm contemplating all the challenges and tasks coming up in the next few hours.

Influence of Literature: Ian Fleming’s quote, “Hope makes a good breakfast. Eat plenty of it,” is mentioned in relation to your project. How do literature and other art forms outside of photography influence your work?

I read a lot of books. They are piled up at the side of the bed and I often read in the bath. I suspect my reading choices are more influenced by my work rather than the other way round. However I am regularly influenced by music. I often think that photography today has a closer link to contemporary music than it does to traditional art.

Audience Reaction: What reactions or feedback have you received from viewers of your "Breakfast" series, and have any responses particularly resonated with you?

I am primarily known as a street and portrait photographer so doing something that like this personal series was a challenge. However the book sold well, particularly in South Korea and Japan of all places. I have had a number of exhibitions of the work and hopefully another early next year

Future Projects: Having documented a personal and intimate space with "Breakfast," do you see yourself exploring other everyday rituals or moments in future projects?

I have no plans to do other everyday rituals but you never know.....

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.

Niall McDiarmid (Website, Intagram) is a Scottish photographer renowned for his vivid documentation of Britain's people and landscapes. Based in London, his work encompasses a rich portrayal of British life, capturing its diversity and cultural nuances through a series of compelling photographic narratives. McDiarmid's notable publications include "Crossing Paths" (2013), "Via Vauxhall" (2015), "Town To Town" (2018), "Southwestern" (2019), "Shore" (2020), and "Breakfast" (2022).

His contributions to the field have earned him a place in several prestigious collections, including the Martin Parr Foundation, the Museum of London, the National Portrait Gallery, and the Sir Elton John Photographic Collection. McDiarmid's ability to encapsulate the essence of British identity through his lens has solidified his position as a significant figure in contemporary photography.

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