Back in 2001, when I last moved house, I was unpacking my sporadic collection of Creative Camera magazines from the 1970s and 1980s and thought I would try and fill the gaps.

What started off as an attempt to make my collection more continuous ended up being a nine year quest for every issue of the magazine ever published. In total, 358 copies comprise the complete publication, from issue 1 of Camera Owner in June 1964 to April/May 2001, when it ended its life as DPICT. This week saw the acquisition of the few remaining issues I lacked.

I don't often look at my server logs or explore Google Analytics to see how this site is doing, but today I was curious about the search enquiries that led people here over the last year.

Here are the results, ranked by numbers of visitors for each search term, for the last 12 months.

Is the almost Yoda-inspired name given by the suicidal, lost-the-plot Labour Party in the UK to their new website, Flickr enterprise, Facebook group, Twitter stream, you name it, they'll be there.

The point of this venture is to encourage the general public (presumably mostly those who are Labour supporters) to post photographs that illustrate the beneficial changes that fourteen years of Labour government have brought us.

A brief, but intense and moving, slideshow with an audio commentary by McCullin over at the BBC.

An exhibition of his work, to mark his 75th year, is being held at the Imperial War Museum North, in Manchester, from the 6th February until 13th June.

I've always been a great fan of David Hockney, whether it be his art, his views on photography or his defiant defence of an individual's right to smoke if they want to. He's probably the only person in recent times who has been allowed to give a television interview in the hallowed halls of the Tate Gallery with a lighted cigarette in hand.

Watching this short slideshow about his recent work in the Yorkshire landscape and how we are in danger of forgetting how to 'look' at landscape and colour, I couldn't help but notice Hockney's choice of camera for recording snapshots of his rural explorations. Hardly what you might call a 'pocket' camera, but then Hockney does have extremely deep pockets...

Had you asked me a few days ago if I knew of the work of photographer Irwin Klein, I would have said "are you sure you don't mean William Klein?" But I did know of Irwin Klein's work, through a picture that was firmly burned into my mental image store and appropriately called 'Minnesota Fire (1962)'.

My archive of Creative Camera had prompted an enquiry from Irwin's nephew regarding a reference to his late uncle in an issue dating from 1979. When I pulled out the relevant copy and saw the photograph (reproduced right) I immediately recognised it, although I couldn't have told you who had taken it previous to that.

A new sequence from Eric Perlberg had me entranced as I let it play full-screen this evening.

I've mentioned Eric here before and have enjoyed his London journal, curiously incongruous, for many years. That journal is now 'on-hold' while new avenues are explored through more defined personal projects - one of these is called decoherence.

Last night I watched a hugely entertaining TV programme about the photographer Duffy: 'The Man Who Shot the 60s' (available for a limited time for UK viewers on BBC iPlayer, others will have to wait until it's let loose elsewhere...). I've always been a great admirer of the work of Brian Duffy.

He was one of the 'Black Trinity' in the 1960s - so called by photographer Norman Parkinson and comprised of Duffy, David Bailey and Terence Donovan. This was a time when fashion photographers were more famous than the models, the clothes, or the magazines they worked for. They were the true 'celebrities' and not far from the image portrayed by Antonioni in 'Blow Up'. Duffy's love-hate relationship with Bailey continues to this day and provided some of the most amusing scenes in the programme. Donovan of course is sadly no longer with us.

Prompted by a request from Italy for an article by Alexey Brodovitch that was published in Creative Camera in 1972, I decided that the content was worth publishing on this site.

For those that don't know the name, Brodovitch was hugely influential in shaping the life and work of numerous photographers, mostly through his 'Design Laboratory' operated in New York  from 1933 onwards.

Practical HDR: The Complete Guide to Creating High Dynamic Range Images with Your Digital SLR

High Dynamic Range (HDR), people either love it or hate it.