Any explanation except one by Nathan Jones

When the course of civilization takes an unexpected turn–when, instead of the continuous progress which we have come to expect–we find ourselves threatened by evils associated by us with past ages of barbarism–we naturally blame anything but ourselves. Have we not all striven according to our best lights, and have not many of our finest minds incessantly worked to make this a better world? Have not all our efforts and hopes been directed toward greater freedom, justice, and prosperity? If the outcome is so different from our aims–if, instead of freedom and prosperity, bondage and misery stare us in the face–is it not clear that sinister forces must have foiled our intentions, that we are the victims of some evil power which must be conquered before we can resume the road to better things? However much we may differ when we name the culprit–whether it is the wicked capitalist or the vicious spirit of a particular nation, the stupidity of our elders, or a social system not yet, although we have struggled against it for half a century, fully overthrown–we all are, or at least were until recently, certain of one thing: that the leading ideas which during the last generation have become common to most people of good will and have determined the major changes in our social life cannot have been wrong. We are ready to accept almost any explanation of the present crisis of our civilization except one: that the present state of the world may be the result of genuine error on our own part and that the pursuit of some of our most cherished ideals has apparently produced results utterly different from those which we expected.

– Friedrich A. Hayek in The Road to Serfdom (1944) dedicated to “The Socialists of All Parties”

Jericho Landscapes by Nathan Jones

Leica R8, 60 mm f/2.8 Macro-Elmarit, Ilford Delta 400 Professional, Kodak D76.

David Bruce Jones (1942–2024) by Nathan Jones

I made this portrait of my father in my parents’ home in Gaborone, Botswana, in late 2010. He was 68 at the time. I re-discovered the photograph soon after I began the long-overdue process of reviewing the 15-year archive of my negatives. The white balance was impossible to correct as the portrait was made indoors under a mixture of incandescent and fluorescent lighting using film that was designed for daylight. Even though the colours are irredeemably unnatural, I am very pleased with how the picture turned out—and to have found it at all.

I have added this photograph to a series called Candid, which is published as a gallery on this website. The collection contains colour shots of my family, friends, and acquaintances. You may also be interested in my black-and-white portraits.