Next week I’m off to Paris again for the day, on what will be my penultimate trip before my exhibition. I know that, currently, I have over 30 prints (maybe 35) that I could hang, but I’m now at the point when I’m starting to think about what images I’ve got – and, more to the point, what I haven’t!

In my opinion, an exhibition needs pace or dynamics. By dynamics, I mean that the photographs on show will need to vary, and not just in content: vary in composition and in style; vary in depth of field, in shape and form, in light and shade… the list is a long one.

So the prime purpose of my next two trips is to try to complete the exhibition dynamic by filling the visual and/or photographic “gaps”. The trouble is, of course, I’m taking candid photographs with a human content. Despite my best intentions, and perseverance, nothing is guaranteed.

There is one shot that I know I want to try to capture, as it would complement a photo I’ve already taken: namely, Audrey Again, Passage Vendôme. The “Audrey” referred to is the well-known Audrey Hepburn canvas print, sold by IKEA.

A very similar “Audrey” print is on the wall in Little Séoul, a Korean café in Passage Choiseul – just a few shops along from where my exhibition will be. Will the café still be there…? Will it be open…? Will the print still be on the wall…? And even if those answers are in the affirmative, will the other required components of the shot be there? 

Required components??? The truth is I simply won’t know until I get there and start waiting for everything and/or anything else to fall into place around the Audrey print, with me poised to click the shutter.

And that might be a very… long… wait…