So there the boulder sits, left by a glacier thousands of years ago, he has withstood the wind and rain while all round the soft limestone has slowly dissolved away leaving him standing on his rocky pedestal. I first stumbled across this stone while wandering across the moor only to rediscover him once again this summer fifteen years later. But in the life span of this rock fifteen years is just a blink of his gritstone eye, he sees the world in terms of geomorphology, the literal evolution of the landscape over millennia, not by the ticking of a clock. What is a mere decade and a half compared to the passing of an ice age? My first photograph failed to deliver due to a light leak in my camera, this time things went much better but I’m sure I will return again for a third attempt maybe in another fifteen years, and he will still be there waiting for me.
The photograph was taken with my DIY Ensign 820 Wide Angle camera with Fomapan 100 film developed in 510 Pyro, I then contact printed it on expired vintage Agfa Brovira grade 5 paper.
It was a few months ago a friend and fellow photographer Andrew Bartram of https://andrewbartram.wordpress.com/ just so happened to be working up North and had a morning free to spend roaming around my local fell with a camera and me as his guide. We both share a love of old sheds and barns and were soon absorbed by the numerous chicken shacks and pigeon crees which are scattered across the moor. I was drawn to one shed in particular, the dull overcast weather seemed to lend a sombre mood to it making it’s dirty old white window frames glimmer against its tarred blackened wood.
It took me a while to get round to processing my negatives, in the end I decided to develop them in Caffenol CL the low sodium long stand recipe from the Caffenol Bible which works very well with the Fomapan Classic 100 5×4 film I tend to use. The results seemed worthy enough to print with the last few sheets of my expired Kodak Bromide Grade 2 paper, but I think it may be a negative I will return to.
My previous trip to the millstone quarry on Carr Crag had been incredible, but I couldn’t help but feel that the weather had cut my exploration a little too short and I knew there was still a lot more to be discovered. So a few weeks later with some better weather in the offing my dad and I walked down the now familiar track towards the ruins of Flushiemere House. Together we followed the path which slowly wound its way up the small dale past the old mine shop with the aim of reaching the northern most end of the line of crags. Here we hoped to find evidence of the people who visited this remote corner of the Pennines thousands of years before us, and like the millstone carvers that followed them they had left their marks upon its coarse weathered stones. These carvings known as Cup and Ring marks are thought to date to the early Neolithic period around 5,000 years ago just when humans began to cultivate crops and domesticate animals. Their original meanings are now sadly lost in the mists of time though the people who made them seemed to favour certain locations within the landscape. The most common places are on boulders and crags which overlook valleys particularly if there are springs near by, a few marked stones have also been discovered set into streams themselves. Archaeologists have also discovered mounds of burnt material close to certain sites, all these clues are thought to hint at the ritual importance of these areas. It is also worth remembering that the landscape of the Pennines was very different in the Neolithic period. Before the arrival of intensive pastoral farming and mining the dales were densely forested and the valley bottoms often choked with marshes and wetlands, Carr Crags and other similarly rocky outcrops could have formed clear ground above the tree line, a perfect location for hunters to watch the movements of game below or the early farmers to oversee their herds.
After negotiating our way through the snow-covered peat hags we reach the crags and soon started to see boulders covered in carvings. Ranging from small thumb size peck marks to large soup bowl sized cups that covered the surfaces of the massive stones. The the carvings seemed to be more primitive in their designs compared to the more complex patterns found on the boulders of Barningham Moor to the south but the sheer volume of markings was astonishing.
We worked our way along the line of the escarpment stopping now and again to examine the boulders as we went till we reached the location of my earlier visit. Now with the better weather conditions it was possible to see the full extent of the workings. Together we must have found over a dozen millstones all in different stages of creation from the roughing out all the way to the finished article. A few of the worked stones had obviously failed during their carving, an unforeseen fault in the fabric of the stone which led to all the carvers labour going to waste. Looking at the scale of the quarrying it left me wondering was this the result of a large workforce, or generations of small groups of people scraping out a living in these tough conditions? Who were these people who toiled up here on this exposed fell side 600 meters above sea level? Neither could I get over the thought that when the day came to stop work for the last time, what must it have felt like to just down tools and leave all their hard work to the elements? Once again Carr Crags left me with more questions than answers, holding onto is secrets until another visit.
I thought I would add little note about the pictures. A recent sort through my darkroom led to the rediscovery of a packet of very out of date Kodak Bromide Grade 2 photographic paper from the 1960’s. To cut a long story short I couldn’t help but give it a go, and I’m happy I did because the results were remarkable. Not only did they have a wonderfully warm tone, but also a fantastic textured finish which shows through even in the scans I’ve posted, sadly I only have two or three sheets left!
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 shore.
Rolleicord TLR, Expired Agfa APX 100 film developed in Tanol for 13 minutes and split grade printed on Ilford Warmtone paper.
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!