It wasn’t until late March that I finally got the chance to finish the double exposures which began life on my makeshift kitchen table studio. By then the late winter darkness had started to open up to the beginnings of spring and a weak sun shone through the bare branches of my chosen location. I had nicknamed this place Mirkwood (the title I also gave to one of my Stag Skull pictures that began this series of work), not only as a nod to the dark woods of J R Tolkien’s Middle Earth, but also to William Morris’s anglicised term for Myrkviðr the mythical black forest of Norse poetry. It’s a strange, sombre kind of place, tucked deep into the side of the dale and divided by a clattering moorland beck, while the high sided fells cut out most of the sun light. The ground has always been damp when I’ve visited, centuries of fallen leaves have turned the woodland floor into a marsh which sucks at your boots. The little direct daylight and the sodden ground has forced the trees to grow gnarled and twisted, hung with lichen and scarred by past winters, their knotted boughs creaking in the gentle breeze. The wood has proved inspiration for a number of my pictures and I never tire of the myriad of shapes the branches form, every corner provides something new, it really is a place that envelops you and takes you out of modern world.
As with the other pictures in the Dain Series I had taken multiple exposures in the studio to experiment with in the wood. So armed with four pre exposed film holders I spent the afternoon exploring the different contorted shapes of the ancient trees while all the time surrounded by the sounds of running water and early spring bird song. Hunting around the wood it didn’t take me long to find some possible backgrounds to compliment my fox, but one of the things I love most about this double exposure method is that no matter how much I try to envisage what my final picture will look like, it is not until the film is finally developed when I really know what I’ve managed to accomplish. But thankfully once again Mirkwood did not let me down and one of the negative compositions turned out just how I hoped.
Fox Wood. Fompan 100 5×4 sheet film. Double Exposed in Camera and then developed with Tanol 1-1-100, printed with Foma Liquid Silver Emulsion.
An ancient tractor sits crab like, slowly sinking into the gravel, surrounded by the flotsam of last winter’s storms, with nothing to protect it from the elements other then a battered old tarp lashed down with frayed blue nylon rope. Along the coastline of Britain there are dozens of these aging machines which for decades have been used to haul small fishing boats from the surging tides. To the passer by it must seem dead, redundant, a relic from a long done industry, but beneath scraps of faded paint and flaking rust, black treacle like grease and gear oil has kept the salt and grit at bay, protecting it’s bright metal innards. Maybe one day soon it will cough and bark back into life, it’s cracked sun bleached tyres breaking free of the sands grip , to rumble down the beach once again to were surf meets the sore.
Rolleicord TLR, Expired Agfa APX 100 film developed in Tanol for 13 minutes and split grade printed on Ilford Warmtone paper.
In my last post I spoke about the new Gallerina HQ opening it’s doors to the public and how I had pushed myself to create some new work for this special occasion. Well so far the response from the public for my latest pictures has been tremendous, it’s been so great it has inspired me to expirement more and see where it takes me.
One of the most daunting aspects of these multiple exposure pictures is choosing to work in a studio (as you can see it’s a very make shift one on my kitchen table) for the first time in a decade. It’s been a long time since I had to deal with the complications of lighting and I’d almost completely forgotten anything about compensating for extra bellows expansion or the dread Reciprocity Failure. The memories of my student days, and the boxes of beautiful Polaroid film I would waste, send shivers down my spine, trying to get my lighting and exposure right, it would cost me a fortune now!
But as an artist we should challenge ourselves, it can be so easy to stick to what you know, to follow the well worn path that you have created for yourself, mostly because it feels safe. Any artistic process involves putting a certain amount of your own emotions and personality into your creation, so there is always an irrational fear of it failing and being criticized, and you with it. But these fears are irrational, artistic expression will always be open to interpretation and we should fight against being stuck in that rut! Because that is often when we achieve something we are really proud of! Oh and I still haven’t remembered how to compensate for bellows expansion and Reciprocity Failure and I’m not sure I ever did, I think I may have always been working on intuition..
Happy Christmas everyone. There have been plenty of ups and downs this year, and though I would have liked to spend a lot more time in my darkroom (once again I have too many yet unprinted negatives) there have been few highlights for me.
Many of you may have seen that back in April I had my first ever article published in the brilliant Fallon’s Angler publication, well would you believe it, they liked it enough to publish another of my articles in issue 8!
Another highlight of my year has been Gallerina, the wonderful gallery that have represented and supported me for so many years, relocating to their brand new home at No 1 Victoria Road Darlington. Richard Gwen and Helen worked tirelessly to transform a tired and neglected old building into a warm and welcoming contemporary art space. So for this new setting I decided to try something a little different, push myself outside of my comfort zone and began work on a series of new pieces using multiple exposure techniques to combine traditional still life photography with my liquid emulsion landscapes and using this new process to explore more deeply the folklore and mythology connected to our landscape. More to follow…
So finally I would just like to say thank you to everyone for continuing to support my blog it really makes it all feel worth while. Merry Christmas to you all and a happy New Year!
There are some places that stay with you, and though the precise details may fade over time the sense of the place, the emotional connection to the landscape and the weather remain with you for years. These memories haunt your imagination waiting for the chance to return. A telephone conversation with a friend and fellow photographer Alex Boyd about his move to a small village on the west coast of the Isle Of Lewis, one of the most incredible windswept pieces of land in the United Kingdom, brought memories flooding back of my visit, one bleak and blusterly April, way back in 2005.
It was a fishing trip with my friend Gary who is a farrier on the Inner and Outer Hebrides. Gary had a few jobs booked in on Lewis so the plan was to mix business with pleasure and between shoeing horses we would have a cast on some of the hundreds of wild lochs that dot the island. We where probably lost when I took this picture, I can remember driving down the small moorland track trying to find another loch to fish, and the sting of the wind and the rain as we climbed out of Gary’s van into the teeth of an Atlantic westerly. In the distance huddled into a fold in a ridge sat a small pool of water shining out in contrast to the dark brooding backdrop of the rugged mountains and billowing gun metal clouds.
After I put down the phone I went to find the negatives because I suddenly realised it was just the picture to give as a thank you to another friend William Marshall for another trip into the hills in search of trout!
On the bank of one of my favourite pools stands a grand patriarch of a beech tree casting it’s branches across the river like some ancient Entish guardian from Tolkien’s Middle Earth. During the cold stirring of spring these gnarled boughs are bare and skeletal but come the warm days summer trout will lazily rise to sip insects off the waters surface beneath it’s shady verdant canopy. Years of harsh winter spates have undercut the bank revealing it’s giant roots and there I often see the marks and foot prints of otters in the soft sandy silt, these often elusive creatures seem to have gained a liking for the invasive Canadian Signal Crayfish which has done so much damage to our own native species. The remains of their brightly coloured claws and crunched up carapaces are littered everywhere. Spring has been particularly late in the dale this year with snow and frost lasting to the end of April but those warm and heady evenings beneath the tree will be back soon.
Many of you may not know but photography is not my only passion, I have another which has sometimes kept me away from the darkroom when I should have been working and sometimes away from my bed when I should have been sleeping, and that is the gentle art of fishing. So I was over the moon when I was given the opportunity to combine my two passions and create an article for the wonderful fishing journal Fallon’s Angler. I had a fantastic time exploring some of my favourite rivers with my 5×4 camera and a fishing rod while trying to capture some of the essence of being on the bankside and fond memories of fishing with my grandfather.
If you want to find out more and maybe purchase a copy to read for yourself please follow this link