The Digital Camera Monkey visited Tate Modern a few days ago, and once again the best results were from pointing the camera almost directly at the sun, although in this case it was an artificial sun. Michael Jenning' pictures here had made me want to see this, and photo it. Remember, the more light there is pouring into the camera, the less long the camera wants to look, and the sharper the picture.

As you can see, the horizontals of which the sun is constructed have slid a bit sideways.

I like that rather Wagnerian wall to the right, don't you? We're not in London, we're in post-Nazi Bayreuth and everything is being re-evaluated, confusingly but impressively.

It took me a while to get that the people lit by it were more interesting, photographically, than the sun itself.

And I tried doing all sorts of things to this next one, cropping and photoshop fiddling, but in the end I left it as it emerged from the camera, the best of a blurry lot of attempted portraits, because it gets how much she's enjoying it. Other viewers were better photographed, but less fun to look at.

And here are all the true worshippers.

However, they are not worshipping the sun. They are worshipping themselves, as reflected in the ceiling, as you can see at the top of this.

Right, that's enough Tate Modern sun photos. For more about the sun go here.

I recall once visiting the Acropolis and hearing an American, who had been taking lots of photos, say to his children (who wanted to stay and look at it): "Come on, come on, we'll look at it when we get home." This is now how I feel about my photography expeditions. The things themselves are okay, but the point is the photos. Make or break time comes when I get home.