Project Development


  • Allen, J. (2017) The Stained Glass Museum – Highlights from the Collection. London: Scala Arts & Heritage Publishers Ltd.
  • Archer, A. Crewe, S., Cormack, P. (1988) English Heritage in Stained Glass – Oxford. Oxford: Trans Atlantic Investments Limited
  • Archer, M. (1985) English Stained Glass. Her Majesty’s Stationery Office, London (Victoria & Albert Museum)
  • Archer, M. (2017) Stained Glass (Pitkin Guides). London: Pitkin Publishing
  • Arnold, H. (ca. 1910) The Glass in Balliol College Chapel. Oxford: Horace Hart
  • Brocket, J. (2018) How to look at Stained Glass – A Guide to the Church Windows of England. London: I.B.Tauris
  • Cheney, L. De G. (2014) Edward Burne-Jones’ The Days of Creation: A Celestial Utopia; Journal of Arts & Humanities, Vol.3, No.8,  Beaverton, LAR Center Press
  • Cormack, P. (2008) An Exhibition of Morris & Company’s Stained Glass for the Chapel of Cheadle Royal Hospital (an illustrated catalogue). London: Haslam & Whiteway Ltd.
  • Dean, A.S. (1991) Burne-Jones and William Morris in Oxford and the Surrounding Area. Malvern: Heritage Press
  • Dean, A.S. (1998) Edward Burne-Jones (Pitkin guides). Andover: Jarrod Publishing
  • Drake, J. (1996) William Morris An Illustrated Life (Pitkin guides). Andover: Jarrod Publishing
  • Degiorgis, N. (2015) Hidden Islam: Islamic Makeshift Places of Worship in North East Italy, 2009-2013. Rorhof
  • Faulkner, K. (2009) Record or Representation: Photography and the Artist’s Studio (Henry Holiday: An Artist’s Album)
  • Fouquet, G. (2002) St. Peter’s College Chapel, Oxford: a guide with a description of the stained glass. Oxford: Oxford Print Centre
  • Hannah, G. (2014) Summer Fields The First 150 Years. London: Third Millennium
  • Holiday, H. (1896) Stained Glass as an Art. London: Macmillan & Co., Ltd.
  • Holiday, H. (1914) Reminiscences of My Life.  London: William Heinemann
  • Hunter, N. (2013) St. Edward’s 150 Years. London: Third Millennium
  • Horner, L. (2013) Patrick Reyntiens Catalogue of Stained Glass. Bristol: Sansom & Company Ltd.
  • Jenkins, S. (2013) England’s Thousand Best Churches. London: Penguin Books Ltd.
  • Jones, A.T. (1979) The Stained Glass of Oxford. Oxford: ZiPrint Parchment (Oxford) Ltd.
  • Kenyon, R. ed. (1980). The Cathedral Church of St George the Martyr. Cape Town: Printpak Books
  • Marlow, P. (2012) The English Cathedral. London: Merrell Publishers, Ltd.
  • Middleton, A.J. (2006) A Pre-Raphaelite Jewel: The Chapel of Harris Manchester College, Oxford. Oxford: Oxford Print Centre
  • Morris, J. & Ferguson, J. (2011) Christ Church Oxford A Brief History and Guide. Oxford: Baseline
  • Opher, P. (1994) Oxford Town Trail – Stained Glass. Oxford: Heritage Tours Publications
  • Opher, P. (2014) Oxford Town Trail – The Oxford College. Oxford: Heritage Tours Publications
  • Oxford Visitor Information Centre (2016) Discover Churches in Oxford. Oxford: Oxford Visitor Information Centre
  • Stursberg, D. & Maina, H. (2014) Amazing Arts #29 Stained Glass Windows – Oxford.  Amazon
  • Stursberg, D. & Maina, H. (2014) Amazing Arts #30 Stained Glass Windows – Oxford.  Amazon
  • Tyack, G. (2007) Gilbert Scott and the Chapel of Exeter College, Oxford. Architectural History. 50. 125-148. 10.1017/S0066622X00002902
  • Unknown (2012) A Guide to Nuffield College Chapel. Oxford: Nuffield College
  • Unknown (1997) Christ Church Oxford: Stained Glass.
  • Waters, W. (1973) Burne-Jones: An Illustrated Life of Sir Edward Burne-Jones 1833-1898. Aylesbury, Shire Publications Ltd.
  • Waters, W. (1998) Edward Burne-Jones Stained Glass in Birmingham Churches. Birmingham: Alastair Carew-Cox (Photography: Carew-Cox, A.)
  • Waters, W. (2003) Stained Glass from Strigley & Hunt. Lancaster: Centre for North-West Regional Studies, University of Lancaster
  • Waters, W. (2012) Angels & Icons Pre-Raphaelite Stained Glass 1850-1870. Worcester: Seraphim Press Ltd. (Photography: Carew-Cox, A.)
  • Waters, W. (2017) Damozels & Deities Pre-Raphaelite Stained Glass 1870-1898. Worcester: Seraphim Press Ltd. (Photography: Carew-Cox, A.)
  • Watson, J.N.P. (1992) Dorneywood. London: Robert Hale
  • Whiteley, J. (1989) Oxford and the Pre-Raphaelites. London: Ashmolean Christie’s Handbooks
  • Williamson, P. (2003) Medieval and Renaissance Stained Glass.  V&A Publications, London
  • Woodforde, C. (1951) The Stained Glass of New College, Oxford. London: Oxford University Press

Project Development

Exhibition Media and prospective licencing agreement

For several months I have looked at, and discussed, the possibilities for maximising the appeal and reach of my project.  While my preferred primary medium would be traditional Giclée prints, there is a host of other possibilities, including:

In discussion, the idea of an interactive guide or a virtual exhibition has also been mooted.  Whatever the final decision, I would not be happy to make a half-hearted attempt at any of these, preferring to deliver quality of experience over quantity of experiences.

In recent weeks, while photographic work has taken a brief hiatus, I have been exploring in depth the current technology and options available for interactive displays.  Currently technology is little more advanced than was the case ten years ago, except for an increase in resolution and size.  However, a start-up company intends to move things forward within this field by incorporating technology that optimises the image, subject to the ambient light.  Real-time dynamic adjustments are made to the digital image in order to maintain the appearance of authentic physical art – not only in favourable conditions (e.g. midday, consistent overhead lighting) but also in more extreme scenarios (e.g. dawn and dusk, inconsistent light sources and positions, etc.).

Canvia.pngThe Canvia frame has a 24″ FHD antiglare display; 16Gb of storage; WiFi support and can be controlled by an iOS or Android app, and will have Amazon Alexa and Google Assistant integration.  In addition to uploading your own content to the device, it will come with two tiers of online art library.  The free tier is populated with over 3000 works (from Old Masters to Modern and Contemporary art).  A Premium paid-for tier will contain works by licensed famous and upcoming artists, illustrators and photographers.  At least 70% of the subscription fees will be allocated to contributing artists, based upon the total hours your artwork is displayed on the network.

The Palacio team, who have developed the Canvia have requested to use my stained glass portfolio as a unique addition to their Premium collection.  In the coming days and weeks I will be reviewing their licensing agreement and discussing the works that they would most like to feature.

Peter Marlow

The English Cathedral

Having been chastised a little for a practice that has been perceived as little more than cataloguing, I have researched other contemporary studies… a little problematic having set out to photograph stained glass windows on account of the fact that it is a practice that is, well, unpractised.  However, Peter Marlow’s exquisite work does come to bear.

In 2008, Marlow was commissioned by Royal Mail, on the occasion of the 300th anniversary of the completion of St Paul’s Cathedral, to photograph six cathedrals.  The resulting images of Lichfield, Belfast, Gloucester, St David’s, Westminster, and St Magnus in Orkney were issued as a set of six commemorative stamps.


Marlow was inspired to continue the project and in the following four years shot all 42 of the cathedrals of the Church of England.  Published by Merrell in 2012, this work is considered a contemporary update to the tradition of church photography in England, particularly the work of Frederick Evans and Edwin Smith.

It seemed appropriate to purchase this publication as it could prove an invaluable source of reference.  However, as something of a bibliophile and a consummate collector, I could not manage to buy the sensibly priced publication, so find myself the proud owner of the Collector’s Edition which includes a signed, hand-finished print.  What a magnificent publication: Marlow, P. (2012) The English Cathedral. London: Merrell Publishers, Ltd.

The English Cathedral

With buildings of such scale, Marlow shot each cathedral on large format film and the majority from the same position: looking east towards the altar as the natural light of dawn broke through the main window.

Carlisle_Cathedral_Peter_Marlow low res

Peter Marlow (2010) Carlisle Cathedral (Cathedral Church of the Holy and Undivided Trinity)

Over recent months I have often referenced the importance of light within places of worship and have commented routinely on the significance of soft white lighting in my practice.  The light of dawn will fill these spaces with the illumination for which the spaces were originally designed and the absence of artificial light provides a timelessness to the scene.

Magnificent thought Marlow’s work is, it illustrates so perfectly my observations about stained glass window photography and the reason behind my wish to photograph such objects well.  To the worshiper, the stained glass is as important as the building itself.  Indeed it could be argued that the buildings are there as galleries for the stained glass.  So how sad it is that even a photographer of Marlow’s calibre is forced to allow the magnificence of glass such as Carlisle Cathedral’s east window to be bleached out in order to accommodate the contrasting relative darkness of the building.  While you do get a feel for the majesty and size of the building, thanks to a beautifully composed image, a member of the congregation would be spellbound by the rich colours and beauty of the glasswork, in addition to the rest of the building.  Sadly (and by way of confirmation for the lack of such photographs), I am unable to provide an appropriate representation of the window as a detailed and prolonged image search has proved fruitless in finding the whole window portrayed as it actually looks to the human eye.

Carlisle_Cathedral_Peter_Marlow close up

Peter Marlow (2010) Carlisle Cathedral – closeup detail of the east window.

Marlow’s exquisite work does more than compensate for this understandable and unavoidable fallibility.  I am reassured that if it is acceptable for a Magnum photographer to ‘catalogue’ cathedrals, then my own practice should be tolerated – not least because it sets out in attempting to rectify the specific shortcoming demonstrated by the work of Marlow and others.

Project Development

Wycliffe Hall Chapel

My planned photo shoot visit to Wycliff Hall fell on a pleasingly good day where weather was concerned, with cloud cover and bright light.  However, I was worried by the limited amount of daylight I would have on winter afternoon.  I need not have worried: no more than a handful of photographs into the session, the Chaplain and a number of students arrived to prepare for the chapel service that was about to commence – something that required internal lighting.  I was left with no choice but to pack up and head home.  Before I had even reached my house I was emailed the offer of five future dates on which I could work, uninterrupted in the chapel.

Project Development

Wycliffe Hall Chapel – Revisited

In the climatographical lottery that I play every time I confirm a date for a chapel visit, today appeared so poor that I was tempted to cancel and rearrange: temperature 11°C higher than the historical average and a brilliant blue, cloudless sky.  Experience told me that this would likely result in harsh shadows on the glass in addition to unfavourably bright interior light.  However, it was going to be a lovely walk to the location…

For this visit I was afforded a slot from 3pm until 4:30pm, so on arrival, bright sunlight was pouring in through the mostly plain glass west window.  To my surprise though, with the ambient light being so bright, the east window was lit very well by diffused, reflected daylight – producing near-perfect conditions for photography (so long as the bright beams of light from other windows remained clear of the window).

DCP_9236 ce (low res).jpgWith the Hall Principal being so keen to utilise an image of part of one of the lights for a condolences card and me ever keen to photograph any Nativity scenes, I opted to capture six views: the entire window and then the bottom half of each light, depicting scenes from the life of Christ.

The window east was installed in 1927 to mark the Hall’s Golden Jubilee and is believed to have been designed by the same artist as the John Wycliffe window.   However, the hall is  unsure of any further details. These were photographed from the organ loft at the perfect height to avoid any distortion.  A total of 103 images were shot at 117 mm for the entire window and 400mm for the close-ups, using the Canon EF 100-400 mm f/4.5-5.6L IS II USM lens, at an aperture of f/8.0 and exposure times ranging from 1/15 s to 5 s.  To date, I have edited the five lower panels and suspect that I will not work on the entire window.

DCP_9134 (low res)Despite the bright sunlight radiating through the west window, I investigated its photography: irrespective of focal length or aperture, from the organ loft there was no viable solution to avoiding the buildings and vegetation outside.  However, from behind the altar at the east end of the building, there was an uninterrupted view mostly devoid of detraction.  While the viewing angle necessitated correction of perspective and the very bright backlighting presented some difficulties with glare, the results were very pleasing.  A total of 17 images were shot at 321 mm using the Canon EF 100-400 mm f/4.5-5.6L IS II USM lens, at an aperture of f/8.0 and exposure times ranging from 1/60 s to 0.6 s.

Wycliffe Hall - John Wycliffe (low res)

Dominic Price (2019) John Wycliffe [Artist Unknown, 1896 – Wycliffe Hall Chapel]

 I have a final visit lined up in mid-March which will allow me to compare the colour and saturation of my images with the two windows.

Project Development

Christ Church Cathedral – Planning Visit

Christ Church Cathedral is the College Chapel of Christ Church College and is comfortably Oxford’s busiest chapel.  Following a comparatively brief series of communications, today’s visit allowed me to meet the Operations Manager who conducted me around the site for the best part of an hour, showing me some of the hidden gems within the building.  Currently the cathedral is undergoing considerable conservation work and upgrades to the lights.  As a result, the entire Nave and Ante-Chapel are occupied by scaffolding.  To my surprise and delight, I have been granted access to this in my future visits, which will enable me an uninterrupted and level view of the East Rose Window, normally partially hidden when viewed from the ground.  Additionally, I will be able to photograph from a number of other raised locations typically closed to the public, eliminating the quality loss that comes from the need to correct converging verticals in post production.  Furthermore I have been granted access to a large collection of fragments of van Linge stained glass fragments found within the cathedral grounds together with the Cathedral’s large light box.

My return visit will see me having private access to the site, which is rather an honour and makes me a little nervous about being sure to do a good job!  My plan has always been to capture just one window within each chapel, but (as I feared) I suspect I will end up photographing much more than that.

Christ Church

Peter Marlow (2010) Christ Church Cathedral

Project Development

Exeter College Chapel – Evensong

My work commitments saw me singing evensong at Exeter College Chapel today, which provided the opportunity to carry out a quick planning visit and make some tentative arrangements with the chaplain.  While a truly stunning building, capturing a single window or single light is going to prove hugely demanding.  The chapel is exceptionally tall, with the windows reaching right up into the vaulted roof.  The suspended lighting masks partially several of the lights, although there is a very small organ loft at the west end that might afford a preferable view of the two lights that face directly east.

So stunning is this chapel that when eventually I photograph the stained glass, I will also attempt a ‘portrait’ of the chapel.

Exeter 01 (low res)

Dominic Price (2019)  Exeter College Chapel east end stained glass

Exeter 02 (low res)

Dominic Price (2019)  Exeter College Chapel

Project Development

St. Peter’s College Chapel

A series of unfortunate events resulted in my arrival at St. Peter’s College Chapel following no planning visit.  Consequently I was travelling with a much larger than normal selection of lenses and knew that I had been granted just ninety minutes access to the location.  Dating back to 1874, the Chapel (originally the parish church of St. Peter-le-Bailey) was pleasingly spacious and in uncluttered Gothic style, affording an open and clear line of sight to the imposing east window.

While I have permission from the College to photograph within the chapel today, I have not received permission to use the images as this has to come from the Bishop of Oxford: for every location a different and new obstacle!

IMG_4235 ce

Dominic Price (2019) St. Peter’s College Chapel

However, just inside the chapel door within the south chancel, was an impressive Bossányi window.  Significantly, this was mounted only a meter or so above the floor allowing straightforward photography that would require no perspective control in post-production – this made a sensible starting point both for the photography and post-production.  Below shows one of the unedited photographs on the left and the completed image on the right, which necessitated just over ten hours of editing.  I am a little concerned about the intensity of the blues in my finished edit and wonder whether I have overdone this – perhaps I should have selected a longer exposure for those areas when piecing together the image?  Time will tell and I hope to have the chance to carry out a follow-up visit in a week or two.

DCP_9360 - unedited

Unedited image (2019) The Head of Christ with birds – design [Ervin Bossányi, 1950 – St. Peter’s College Chapel]


Dominic Price (2019) The Head of Christ with birds – design [Ervin Bossányi, 1950 – St. Peter’s College Chapel]

























With no restriction on my distance from the window, I was able to put to use my preferred lens, the Canon EF 85mm f/1.2L II USM, set to f/8.0.  The weather was not perfect, with light rain and rather heavier cloud cover than is ideal.  As a result, the 19 images necessitated slightly slower exposures than normal, ranging from 1/40 s to 2.0 s.

Hindsight is a wonderful thing, but I do now wish that I had split the window in half when photographing it.  The narrow nature of this single light is such that the edited image is little more than 4.5MP in resolution, however, had I captured the bottom half and top half separately, the resulting image could have been closer to 25MP in size.  Should time allow in the later part of my research, it would seem appropriate to revisit with this in mind.

The editing of the east window images is still to come, but the chapel featured a number of related items that were of interest, being home to a number of Bossányi’s designs.  Uniquely, his design process did not involve the production of a vidimus: rather than sketches, he produced miniature transparent designs made to scale.  These exquisite designs were freely drawn on Perspex, the density of colour being achieved by gluing coloured glass fragments to the reverse.  The chapel has presented these designs within light boxes, with the collection including four designs for Canterbury Cathedral; seven separate lights for Washington Cathedral, USA, and the central panel of the Rose Window for Michaelhouse School Chapel in KwaZulu Natal, South Africa.  This is a location I have passed thirty or forty times in my life, aware of the magnificent window, but never having the time to stop and visit.  The detail shows the Head of Christ and in his hand one black and one white bird: the artist’s unhesitating and unambiguous statement on racial equality.  Bossányi made a second version of this central light, because he was afraid that it might be destroyed in Apartheid South Africa.  That second light is stored in the vaults of the Victoria and Albert Museum.

St. Peter's - The Head of Christ (low res)

Dominic Price (2019) The Head of Christ with birds – design [Ervin Bossányi, 1950 – St. Peter’s College Chapel]

Project Development

St. Peter’s College Chapel – East Window

A weekend of leave afforded me the time to tackle the large East Window.  Unusually, this is the work of two artists: the original window dates back to 1874 and was designed by Henry Holiday, but in 1964 the five main lights were replaced by a John Hayward design, leaving the original tracery lights.  My original intention was to edit just the five lights, but the tracery is so exquisite I opted to start there and complete the entire window.

St. Peter's - tracery gif

Dominic Price (2019) East Window tracery: before & after five hours of editing, low resolution GIF  [Henry Holiday, 1874 – St. Peter’s College Chapel]

While I was able to stand a substantial distance back, occupying the doorway to the chapel, the large size of the window did not challenge my telephoto zoom anything like as much as I was expecting.  A total of 20 images were shot at 176 mm using the Canon EF 100-400 mm f/4.5-5.6L IS II USM lens, at an aperture of f/8.0 and exposure times ranging from 1/40 s to 2.0 s.  The significance of the distance between camera and window was that there was only a minor amount of converging verticals image distortion to correct – I was tempted to ignore the need for this work, but it would have frustrated me every time I looked at the finished image!

I am not especially keen on the juxtaposition of contemporary art with pre-Raphaelite stained glass, but do rather like Hayward’s work – the fine detail tells an incredible and detailed story.  The intricacy of the design is such that the removal of support bars is an impossibility – a blessed relief since the image represented over twenty hours of editing and the removal of 40 support bars would have comfortably doubled that time (to little visual effect).

St. Peter's - Chavasse Memorial (low res).jpg

Dominic Price (2019) Life of St. Peter: Chavasse Memorial [John Hayward, 1964 – St. Peter’s College Chapel]

Project Development

St. Peter’s College Chapel – Post-Production Visit

The final visit to each location allows me the time to compare the edited images with the actual windows.  Because the daylight colour temperature can vary so hugely, in reality these visits provide the chance to compare the relative tones and saturation of each image.  However, for the first time since starting this research, today afforded near identical weather and lighting conditions to the day I took the photographs (although my visit was almost three hours earlier).  As a result, I was able to carry out accurate and direct comparisons.

I was really pleased to discover that my edit of the Bossányi window was a perfect match to the installation in the south chancel.  Concerns I had had over the saturation of some of the blue hues was unfounded.

The edited five lights of the East Window were also very close to the appearance of the actual window.  However, the edited tracery lights were a stop or two darker than reality.  This may be in part due to the hour – although fairly overcast today, there is some evidence of direct light, and being three hours earlier than the time at which the photographs were taken, today the East Window will be subject to reather more light.  This will brighten and bleach the notable paler hues of the 140+ year old glass, when compared with the more intensely coloured new glass of the five main lights.  To that end, I am not going to re-edit any of the work from St. Peter’s College Chapel and will sign it off as ‘complete’.