Two forearms resting on a white shaggy rug, each with a small photo-print tattoo on the wrist, with a phone and scattered print photos nearby.

Enlarged with AI from a smaller original

Photo-print temporary tattoos on two wrists

Forearm · Colour · Photo

Two arms rest crossed on a cream shaggy rug, one hand holding a phone whose screen shows a pink and white graphic. Small square photo-print designs sit on both wrists, one with bright colourful imagery and the other with a darker, muted image. Loose print photos are scattered across the rug around the arms, and the soft overhead light gives the scene a flat, even tone.

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A story inspired by this tattoo · fiction

Don't let Gordon near the sandwiches, he's still sulking about the rounders match in 1979. I'll start where it started, which was the week the squares went missing.

Keep reading

Mrs Pell ran the photography club from a cupboard behind the gym, and every Friday she developed the trip snaps into little prints no bigger than a postage stamp. She pinned them to the corkboard for us to take home. A green kettle on a windowsill. A bonfire behind the bike sheds. Dougie Marr's red wellies sunk in a puddle. Some came out as bright as boiled sweets, others gone the colour of wet slate, the ones taken in the dinner hall after the lights had been switched off.

Then the squares started appearing on wrists. Somebody had found a way to press them on with a damp flannel, and for a fortnight the whole fourth year walked about with a lighthouse or a wellie or a stranger's dog stuck to the skin. Mrs Pell took the tin away from us. She said we were treating memories like sticky labels, and nobody argued, because she was the only one who could tell you which print was which.

By the summer they had all faded, washed away in the swimming baths and the bath water and the sea at Rhyl. All but one. Jean Ashworth's lighthouse stayed put on her left wrist, and it's still there, a bit paler now, the sea behind it gone to nothing but a grey line.

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