Thursday, December 20, 2018

Lost Light

I KNOW, time is pressing; it's a few days before Christmas and you're rushing around, adjusting the pressure on the sprouts in the pressure cooker, wrapping pressies, having a fit . . . there's no time to read this!
So listen, just you go and do what you want to do and come back to this when you have time.

Just bring your own bottle next time you lousy freeloader you . . . 


Look, OK, I Know They're GNOMES!


Well, The Season is upon us again, and like last year, where I wished I'd taken more pictures during the year, I can honestly say that this year I haven't.
In fact film stats have been totally pathetic . . . and if you throw in a bare THREE sessions in the darkroom with RC paper (gargh!) then you can see:

'E's been a very naughty boy . .

This being said, I still think I can do what is fast becoming a Christmas Tradition here at Sheephouse Turrets . .

Ye Olde Annual Sheephouse Roundup

Oh yes, from the countless comments I've had - well, at least 7   - this is a popular read.
So without further ado, and because I know you're desperate to finish off that bottle of home-made 90% proof Egg Nog, I shall start where all good years start:

January
Ah, the month of post-Crimbo recovery where the delights of the curling, mayo-soaked Turkey sandwich quickly start to pale.

I started the year with good intentions, and especially with regard to my Large Format photography which has been totally neglected for a couple of years, but alas and lackaday, viewed from writing this in December, my enthusiasm came to naught.
I think part of that might be down to the nagging thought:
"How the hell do you make a photograph as good as this?"

Walker Evans
Portrait Of Hazel Hawthorne Werner c.1930


I was fortunate enough to pick up a first edition Walker Evans book (First And Last) for a small handful of quids, and there was another photograph from this session in there.
Heading towards 90 years old, this portrait of a (by all accounts) maverick, spirited young woman transcends those years and changes and could quite easily have been taken today.
Except it wasn't.
Look closely and you'll see a master at work.
The incredibly narrow depth of field; the stunning catchlights; the sheer non-pose; the blemishes. Damn, it is honest and raw and real . . and made with a Large Format camera.
With my arse firmly kicked, I folded down my front standard, compacted the bellows and retreated . .

Yes, January was an interesting month from the point of view that my lovely DeVere was unwell. Well it wasn't really, not in a life-threatening way, but in the annoying sense, because the bulb holder went! Bing-bang-biff-boff-pow it did and then it lit no more.
Now if you own a 504, maybe you'll not know it yet, but that lovely 24 Volt 250 Watt bulb requires a holder that can take the post-nuclear heat of the bulb chamber. It gets blindingly bright and red hot in there, even with the fan, so, if your bulb holder gets taken out by a rogue Chinese bulb, then here's the solution - what you need is a Gx5.3/Gy6.35 Low Voltage Lamp Holder

The one I got was made by Bender and Wirth, so German. High quality, and with some judicious manouevering, it fits.


I believe from memory mine is the 961 model. I also added some high temperature shrink around the bits where the cable joins the spade ends (I'd had to cannibalise those from the holder that had gone caput).
 
While you are there you might want to have a butchers at your bulbs. Basically, if it is Chinese or PRC, throw it out. It will shatter, and in may case it took out the bulb holder too.
You are safer spending money and either finding some NOS British or USA or European made bulbs or buying new:

Philips Focusline (Made in Europe)

GE Quartzline (Made in USA)

But seeing as production shifts around so much these days you are best checking with the vendor where they are made.
Trust me - you'll be glad you checked.

February
Ah, season of mists and solid coughing fits!
Well this year we were treated to THE BEAST FROM THE EAST!
Fellow blogger and pal, Bruce of the Online Darkroom was trapped in a car on the M80 for 18 hours . .  . without a camera!
I finished off a roll of Tri-X I'd popped into the olde Nikon F with the 24mm Nikkor (possibly my favourite 35mm lens) and popped another roll of Tri-X into the Leica M2/35mm Summaron combination. 
The difference between the two was notable - the Nikon being solid and I was able to shoot exactly what I saw; the Leica was intuitive and on the fly, seat-of-the-pants shooting - very different in a "snap first ask questions later" sort of way.
I mulled both experiences over and decided I preferred the Nikon way. That 100% viewfinder makes all the world of difference.


View From The Bus
Leica M2, 35mm f3.5 Summaron, Tri-X, Pyrocat-HD
#73 Bus, Dundee, 2018

Sadly, due to being in a hurry, I developed the Nikon film in some old (but not that old) Rodinal-type developer (R09 for all you fact fans) . . and the whole film was blank, saying to me that the developer was dead. It felt like a bereavement. Never happened before. 'New' Rodinal types have not the slightest bit of longevity of the proper old Agfa stuff . . and that's why I'll never use it again.

March
The Beast was still Beasting, so I took advantage of all that snow (calf-deep in places) and loaded a roll of Delta 400 into the Hasselblad and had a mini-explore of an area right next to me, but which I had been unaware of in the 20 years we've lived here. The path had more than likely existed all that time, but hadn't at all been obvious till the Council decided to add some new steps. Anyway, it takes me down beside a school and thence through what must have been at one time the lost footings and gardens of grand houses, then over a railway bridge and out onto a main arterial route.
I had a great time using the 500C/M - easily one of the finest cameras I have ever used.


The Beast Visits The Harris
(Yeah I Know It's A Bit Squinty - It Was F'in Freezin' Right)
Hasselblad 500C/M, 60mm Distagon, Delta 400, Pyrocat-HD
Harris Academy, Dundee, 2018


The enjoyable experience made me think that I'd really like a better walkabout camera too. I love my Rollei T, but you know what GAS is like, was there something better out there?
I had also become enamoured with the 24mm Nikkor, really enjoying the really wide perspective of photography. I put two and two together and rather than investing in a large and heavy 40mm for the 500C/M, a thought came and hit me over the head like an enthusiastic mugger:
THE HASSELBLAD SWC!
Looking around I discovered that they were getting scarce and expensive, so with the encouragement of my darling wife and the thought that I could (like my Father) be dead in 10 years time, I thought Feck it, and bought one.
It was a 1982 SWC/M with the more desireable Prontor CF shutter, just serviced from the good chaps at Ffordes. A lot of money (borrowed off my son) and a couple of years paying back . . but it really was love at first feel.
This is him - left and right profile:






He's got a few scrapes on the finder, but in reality most of the battle scars are on the film back - which was serviced, just looks a tad rough.
My feelings about the camera were to be cemented when I processed the first film.
It was tough getting my head around the field of view - this is the best of a bad bunch:


Dawn Dog
Hasselblad SWC/M
Dundee, 2018


You really have to get your whole perspective (sic.) around that wide view though - it isn't an easy camera to use initially - the need to get as close to everything as possible really is quite different . . however, that clean, undistorted image is well worth it.
To cut a long story short . . . I love it.

April

Lee Friedlander
Peter Exline, Spokane, Washington 1970


This photograph, made my jaw hit the floor the moment I saw it - it contains almost everything I like in a photograph, weird metaphors, a photographer, sunlight and reflections. On the latter it is utterly subtle but they're there in a "WTF How did he do that?" sort of way. Allied to that the large arrow of light pointing to the guys temple and the striping of his face make you think you're entering some weird world of ritual and symbolism.
And there, Stage Left . . Mr. Lee Friedlander. I'd known his photos (selected ones) for years, but upon reading that he almost exclusively used the Superwide I investigated further and discovered a delight of humour and ideas. Have a look for yourself.

Inspired, I headed out with the SW and tried to see what I could do.


She's So . . . Modern!
Hasselblad SWC/M, Delta 400, Pyrocat-HD
Dundee, 2018


This was my favourite.
I don't know what it is about it.
Her obvious delight at being a stereotype?
His obvious delight at having a young woman flash her gnashers at him?
The gnashers and reflection of window bars being almost as one?
The legend at the top:
"Leanne's Delight Is Our Customers Rewarding Their ???"

Actually, I think it is the way her hair has been rendered by the Biogon.
It's spot-on to my eyes.

At the end of April, after a years' absence, I took to the mountains and came back with just about my favourite landscape photograph of all the landscape photographs I've ever taken.
It was courtesy of the SW.
I also got others I was proud of with the 150mm Sonnar, but this, this is it to me:


Lost Burn, Glen Doll
Hasselblad SWC/M, Delta 400, Pyrocat-HD
Clova, 2018


Rather like Leanne's hair, the Biogon has rendered the grass and light in such a way as to be almost ethereal to my eyes.
It was chucking with rain at this point, and the light was terrible - sheltering under trees, guarding the camera from giant drops that were gathering and, er, dropping from the canopy above wasn't easy.
I was lucky to have bought home any bacon at all.

May
Ah, well there I was, on the cusp of some DIY. our sitting room hadn't been decorated in 18 years - it was tired, and at that point in time I thought to myself "Y'know, the paper and woodwork is a mess. Why not strip it all back and start again."
N'er a truer word is said in jest, and little did I know then that what I was about to start on, would be the hardest physical job I have ever done . . . and I've done a few. But this, this was something else.
I blithely peeled back a corner of peeling lining paper and got my scraper out . . .
November 

and 6 months later I finished . . .
I won't bore you about trying to Escape From Alcatraz With A Teaspoon, but that is what it was like.
I won't bore you with trying to clean up half-done scraping jobs filled with polyfilla, lining papered over and then varnished on top of that; nor will I rant about the clouds of fine dust that burst from a woodwork undercoat/ground made from a thick mix of Linseed Oil, Lead Oxide and fine Plasterer's Sand; a ground that was in truth harder than concrete
Underwear hanging around your knees saturated with sweat? 
8 pints of water drunk in one afternoon to deal with dehydration? 
Carbide scraper blades blunted in a couple of hours? 
Chaos, mess and more chaos? 
Drops of wallpaper 1 metre wide and 3.3 metres long?
It was all of that and more . . nearly 60 square feet of sheer exhaustion. 
What a job.

This is a small snapshot of the wallwork . . . add into this the paintwork which encompassed 4 doorways, one 9 foot tall window and allied skirting . . . och you get my drift!



Clear Striations - Antique Wallpapers Welded Together

Cultural Vandalism - I Am Not Proud Of Myself For This
But It Had To Be Done

Like Thick Lino.
After I'd Removed The Top Layers, I was Left with a 3mm Thick
Layer Of Soldified Concrete.
Steam And Chemical Stripping Didn't Work . . AT ALL.

Progress?

Possibly

At the end of May, fed up of scraping I got up super-early and headed out with the SW, only to be beaten by tide timings, so Dundee city centre it was!
This was my favourite from that session - to my mind it looks like something from 'proper' Soviet times:


Comrade Dennis
Hasselblad SWC/M, HP5, Pyrocat-HD
Tay Bridge, 2018

I liked the look of HP5 in PHD so much, that for 2019 most of my faster film will be it. Plus it's the cheapest good quality named fast film you can get at the moment.

I had one more visit to the city centre with my camera before the end of the month


Cultural Upgrade
Hasselblad SWC/M, HP5, Pyrocat-HD
Dundee, 2018

The above is a scan from a 6x6cm contact print, so not a proper print (no time).
I was astonished by this Cultural Upgrade, solicited by Dundee City Council in a wee lost lane, called Mary Ann Lane (it's next to the Bus Station of you're interested).
The hummingbird is ok - nice colours, but the debris left behind (this was typical of the whole lane which too had been 'treated' to some lovely street art) was something else - I would say the Tesco Savers Lager tins outnumbered the spray tins by about 10 to 1!
Nice work if you can get it.
Oh to be an artist . . sigh . . .


St. Paul's Court Portal
Hasselblad SWC/M, HP5, Pyrocat-HD
Dundee, 2018


I wrote about this delightful place in FB at the time, so I'll say no more except pack the disinfectant gel and remember to wipe your feet after you've visited (it's right opposite Gelatly Street in Dundee if you're a visitor - cross the Seagate; see that pend? pass the bins and turn left).
I am super-chuffed with this print. It is on Ilford MGRC and was printed on Grade 3; I must make the time to make a proper archival one on Galerie.
The thing I love about it, is the combo of HP5 and Pyrocat-HD and how they have interacted with the Biogon. Have a decko at the detailing of that door-grill. Most lenses I've used (including decent LF ones) would get nowhere near that balance of detail and tonality.
Like I said . . super-chuffed!

June
The consequence of all that blood sweat and tears was that, in the finest Summer people could recall for years, I spent most weekends indoors working like a blue-arsed fly.
Photography?
That was for mortals! 
Printing?
That was for moles! 
Hah, what need had I of that when all I thought and talked about was scraping fecking walls and woodwork.

Well actually, that's not all true.
St Andrews Bottie gardens provided a day out for some not very good photos on really ancient (around 5 years expired) TMX 100. Sadly all fairly underexposed because I'd set the wrong EI on the light meter AND underdeveloped them . . where's that kipper???


Underexposed, Underdeveloped Hothouse
Hasselblad SWC/M, Anciente TMX 100, Pyrocat-HD
St. Andrews Botanical Gardens



We did manage to get some R&R (not rock n'roll, though there was plenty of that played whilst scraping) and a couple of days out, plus a really lovely stay in Edinburgh

I used the Rollei T as a walkabout in Edinburgh and it was very fine. I even had a dreamy-eyed old Dutchman come up to me in a cafe, point at it and say:
"Aaah, Rolleiflex!".
He used to have one . . and by the look of it, he was going home to buy another one.

I've not had a chance to properly print any of these, so they're scans off of the contacts.



Waiting For My Friends
Rolleiflex T, Delta 400, Pyrocat-HD
Moffat, 2018


Weird Afternoon
Rolleiflex T, Delta 400, Pyrocat-HD
Edinburgh, 2018



July
My favourite month, and did I see much of it?
Did I feck!
Feeling like a Morlock, I worked hard at paid work during the week and at the weekends came home and threw myself against the massed canons of ancient decor:

 Half a league, half a league,
Half a league onward,
All in the valley of Death
   Rode the six hundred.
“Forward, the Light Brigade!
Charge for the guns!” he said.
Into the valley of Death
   Rode the six hundred.

Your valiant scribe eschewed all thoughts of a nice cold beer with the missus in the garden and donned a heavy duty face mask and industrial gloves instead.
Relaxation?
Pah, that's fer wimps!

August
Covered in clouds of Lead Oxide dust, flakes of old paint and a white residue of sanded filler, I soldiered on.
Man it was HOT.

September
For a period of two weeks I was banished from my ladder . . . 
I had to do something . . 
Anything that didn't involve swearing and tears.. 
Now what was it?
Ah, the annual break . . so Brussels it was!

If you've never been, GO
It is quaint and posh, downtrodden and chic; a city of character, great food, astonishing beer and really interesting things to see and do. 
This was our second visit, and honestly, I'd go back again. 
It felt like a home from home.
I took a Nikon F3 (for its metering capabilities) and a 28mm f2.8 Nikkor (late version . . another bargain actually) - film was Tri-X. 
I loved using the F3 with a proper Ai-S lens . . . 

Why on earth was the digital camera ever invented???



Three Girls Waiting For Their Friend
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Adam Museum Of Design, Brussels, 2018

Dirk Frimout - The Belgian Spaceman
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Brussels Planetarium, 2018

Portal To The Underworld
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Basilica Of The Sacred Heart
Brussels, 2018

A Quiet Moment
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Petite Sablon
Brussels, 2018

Impossible To Get A Boring Photograph
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Atomium
Brussels, 2018

Les Pionniers Belges Au Congo
Thomas Vinçotte (1921)
Nikon F3, 28mm f2.8 Ai-s, Tri-X, Pyrocat-HD
Cinquantenaire Park
Brussels, 2018


October
The push was on! Not only was I working on the deco at weekends, but also evenings!
I chatted many times with Bruce about getting out and taking photographs . . he even cleaned out his darkroom (!) but still I had no time for anything other than The Grand Finish.
It was at this point that hope disappeared.
Faced with the underside of a horizontal doorframe lintel, where I'd missed scraping the nightmareish ground, I broke down and had a good cry.
Then I had a good swear.
Then I scraped it, manned up and strode forth refusng to trim my beard till it was all done! 

November 
Weird though - it got to the point in November where I seriously began to doubt my own sanity.
Everything I turned my hand to needed tweaking or sorting or putting right - I was spending 10 hour days working at the weekends with 15 minute lunch breaks. 
I lost weight, lost tools, and lost my mind.
It wasn't just crazy, it was super-crazy-with-knobs-on . . .
Despite this and the odds being against me, eventually,  I got there.



Yes I Know It Is Out Of Focus OK!
That's What Happens When You Don't Concentrate

The above is an example of why you should treat a SWC/M like a Large Format camera and perform a check of everything before you operate the shutter:


Composition ✔️
Lighting ✔️
Exposure ✔️
Focus ❌
Also, it is a tiny scan from a contact print, so stick that in yer pipe and smoke it.

Anyway, eventually, the carpet was laid and furniture assembled. 
My beard, which had been tripping me up, was trimmed and a bottle of champagne cracked in celebration.

December
Yep - that's now.
I'd planned on getting to the hills before the snow arrives in earnest, but it was not to be. The remnants of storm Diedre (?why did they have to start naming storms? I have no idea and will chalk it down to some touchy-feely brain-storming session at the Met Office) was bringing in freezing rain and snow, so I chickened out.
Still, the streak of grim determination cultivated over the Summer got me out and about - there was no way I wasn't going somewhere to photograph something - this was the first 120 film I was going to use since June  . . .
And I did it!
I'll detail the trip in the post-Festive FB . . it was quiet and relatively quick . . but FUN and made me think about a lot of things photographically and also how I am going to move FB forward . . but more on that next year.
Just for now here's a sample.



A Quiet Path To A New Year
Hasselblad SWC/M, Ilford Delta 400, Pyrocat-HD
Wormit To Balmerino, 2018


But until then folks enjoy The Festives.

And that as they say is that.
Thank you all so much for reading this drivel over the year - I hope some of it makes sense. 

Good luck for Next Year.
Make time for photographs that count.



Now if one of you could help me with these compression stockings . . . that should disguise me nicely.






















Wednesday, November 14, 2018

A Youth In High Places


The Cairn On Mayar
This Was Made With The Rollei T With 16-On Kit.
Film Was FP4 Developed In Rodinal


Morning folks, well, in the absence of any photographic activity whatsoever, I was scrubbing me noggin, trying to think of something, and then came across this quote in the booklet of a recent CD by a Dutch musician called John Kerr. 
I personally think he is under the hammer of some ultimately fatal diagnosis, for (much like the uber-famous Klaus Schulze) his recent albums have had a theme of memorial to them - anyway, aside from that, the album is called "Requiem For A Dream"; it isn't the sort of music I listen to, just one of the artists we sell, but I was touched by what was quoted:

Youth is happy because it has the capacity to see beauty. 
Anyone who keeps the ability to see beauty never grows old.
Franz Kafka (1883 - 1924)

It's a brilliant quote isn't it.
There was something about it which resonated with me, and days later, there I was again in the preternatural morning light of Scotland, this time not with socks in my hand, but two recycling bins.
The sky was dark turning light.
I happened to glance up at the stars again and there, quicker than a thought, quicker than it took to register in my mind, shot a meteor.
It was an incredibly brief unzipping and zipping of the dark, like a shining through to some vast, bright beyond.
And again, like a distant gong, something resonated within me and I felt that kinship with my proto-me.

The always interesting Kate Bush once had this to say on the matter:

"I have a theory that there are parts of our mental worlds that are still based around the age between five and eight, and we just kind of pretend to be grown-up, Our essence is there in a much more powerful way when we're children, and if you're lucky enough to... hang onto who you are, you do have that at your core for the rest of your life." 

I think what she said has a lot of validity (though maybe everyone is different in which bit of their early years they most associate with). If I were stuck with The Blob (that was me, pre-teens) all I'd be interested in was 'Where's the food?' and farting . . oh and fishing . . .
So in my case, proto-me dates from my later teen years; a younger, hairier Sheephouse, who, despite the passing decades, is really (in essence [he's not changed much]) still here.


Fairly Typical Scottish Mountain Weather.
This Is The Foot Of Jock's Road Before It Gets Really Serious.


We're a funny pair, him and me - he's a bit mad; worried about his future and the mantel of responsibility that comes with leaving youth behind. He's also a bit in awe of the machinations of  nature; a bit bewildered by how his world could change on a sixpence and if truth be told, deeply sad . . not in the modern sense, but sad from sadness. 
He finds solace in peace, aloneness, and a deeply-tuned syzygy with the countryside that surrounds him.
That's him over there examining some lampreys and water nymphs.
He always yearned to get into the high mountain passes too, because he was fascinated by them; but the absence of transport/someone to go with/correct gear, meant he never did, 'til one day (in his late-30's) he said to himself,
"Feck it"
bought some boots and a map and got out there.
Anyway, before we go and speak to him, let me tell you something - he's got some thing.
I am jealous because I had it once too . . . (no laughing at the back) . . . 

There are numerous references in ancient literature to the 'third eye' - y'know, that place in the centre of your eyebrows where your uber-consciousness; your key to infinity, dwells.
He had one.
No kidding!
It was there like a subcutaneous feeling above his eyes, but weirdly, it was only a thing he discovered after long hours of outdoor solitary confinement.

Let me explain myself there.
Isolation can do weird things to a mind.
In my later teenage years I was isolated.
This wasn't really true loneliness - the two are very different things.
No, I was isolated in the middle of nowhere.
Sure there were buses (last bus to anywhere about 5.30PM) and even if I got there, what was I going to do?
Only two of my friends drove and petrol was expensive, so when I came home from school at night or at weekends, that was pretty much me on my tod.
I dreamt a lot.
I walked miles in open-air solitude.
Sure, I had aspirations and all that shit that people expect you to be thinking about for your futurebut in reality I really wanted to be a roadie (!) though what chance had I of that (despite the [no doubt] numerous bands whizzing up and down the A74 in their transit vans) . . . it would have (temporarily) broken my Mum's heart.
So all I could do was hunker down in the long grass, immerse myself in nature and dream of a time when I could get out into the world.
Circumstance meant that I was fortunate to be living at the top of a steep drop down to an incredible riverbank, and it was there I would spend long hours just sitting and watching.
I let the warp and weft of moving water enfold me in a richly contemplative peace.

Fish became somewhat of an obsession.
You've really never lived till you've seen large sea-trout lift themselves free from their fluid domain, urge themselves into the weight of gravity, take a passing insect and then crash back into the water.
Similarly in the languidity of summer, when all the water is as golden brown as the brown trout who wait, idle in the lea of river-stones, till some hapless fly or nymph floats by.
To watch trout rise, quicker than thought and see them repeat it endlessly, whilst the sun moves beyond the hills and the cold of the river meets the heat of the land, raising mist free of the fields, is something beyond the soul.
To see that mist rolling down to lay itself atop the river, like some sweet lover tucking their water-born companion to sleep, well, it got to me.
But then I guess that is part of what we are. 
Pre-industrialisation the world was a quiet place, leaving room for thought (if you weren't too knackered from the pressing activity of life). What was human consciousness like in that silent time? Was the third eye only there for some?
Was it a mystic and mythical thing for only those who could listen to nature?
Or was it, as I believe, some sort of inner natural link to a deep human past, sort of like a gut-instinct for the mind?
Who knows - all I know is that is what happened to me - I started to feel something I had never felt in my 16 years of living in London. 
It felt rather like an expansion of my mind, which centred around the middle of my eyebrows.
And one day I discovered that nature and me, were (like mist and river) entwined.



Peace - My River
Olympus MjU, Agfa 200 Film


Peace - My River II
Olympus MjU, Agfa 200 Film



BOLLOCKS! I hear you shout, but look at the pictures above - I can only tell the truth.

I felt so attuned to nature that I became a part of it - not a visitor - not a human really, just something natural, something that belonged.
I wandered freely without disturbing creatures. All was open to me: the patter of hedgehogs circling each other in a love dance; clouds of midges that refused to bite me; deer; fish; heron and kingfisher; coypu (!); mink and weasel and stoat; water voles; eagles; a myriad of flocking birds.
I was no danger to any of them.
We saw each other and moved on our way.

I so deeply belonged that when my Mum moved, my heart broke in two and my soul was cast to the winds of the world.
I was (very privately) utterly distraught.
Coming to college in a smallish city sealed thick concrete flaps over that 'eye'.
My mind was stuffed with cotton wool.
The deep awareness I had felt was smothered (even in the bits of the city that were relatively green, there was nothing to tickle my amygdala) and I have rarely felt that connection since.

OK you boring bugger, what has this got to do with photography, or even mountains?

Ah, I knew you'd ask eventually.
Well, my artistic leanings (with the encouragement of Joe McKenzie) and love of the natural world led me to admiring and trying my hand at landscape photography.
I was shit at it.
I tried really hard; I took lots of photos of rocks and trees and rivers, skies and distant hills and the rise and fall of landscape, but for all I tried, I couldn't do it, because landscape can be a double-edged sword.
It is at once awe-inspiring and moving and trite and bland.

There's not that many images which have ever captured the land in a way that speaks to my proto-me.
I don't wish to point any fingers, but go and pick up any photography magazine or go on any photography website and you'll see it in all its (in)gloriousness.
Work your way back through the billions of square inches of film, the googolplex's of pixels. I'll warrant that if you are being honest with yourself, there's some stuff that stirs emotion and a ton that doesn't.
I really don't want to be so horrendously damning about it, but I'm only talking from my point of view - there's an awful lot of 'landscape work' that makes me  go (in modern parlance) "meh".
I no longer look at the majority of it actually (including my own) simply because I can't.

So where are we going with this you pontificating git?

Ah, so glad you asked.
Well, y'see, I think you can squeeze something out of landscape, but it's difficult.
It's not a case of popping your tripod here and there and taking pictures of every incredible vista that assails your eyes.
And it certainly isn't worth playing the emulation card (poor Joe Cornish! if he had a penny for every bloody image that tries to be like his . . . )
So definitely don't just think:

"Ooooooo, wot pic am I going to snap next?
Ohhhhhh Buachaille Etive Mhor looks awesome, I know, I'll do that". 

Because it is EXACTLY THE SAME as that other utterly pointless human activity - ticking Munro boxes.
Not only that, but these poor majestic beauties of nature (hills and mountains) have been photographed more times than you've had hot dinners.
They are sleeping old bones.
Let them sleep!

To capture nature, you first need to understand it.

You need to observe it.
Stalk it as it were!
Just in the same way that motoring all over the country, ticking boxes on a list of high peaks you've climbed doesn't really give you much of an understanding of mountains, so aimlessly snapping away at anything scenic in the hope of capturing something profound, will not get you anything more than a chocolate box picture of the land, or, that dying pariah, the postcard.
It's like going to a Michelin-starred restaurant, slurping your way through each course in 5 minutes flat and then saying,
"Great, what's next?"

This land is vast.

Mountains are hard and difficult places. They need to be appreciated, and that can only happen with time and effort.
Revisit many times if possible.
Like a person, get to know them!

The marvellous British photographer, John Blakemore, back in the 1970's, borrowed a Bronica and explored and re-explored the same stream that flowed through Lynch Clough from Lady Bower Reservoir.
He did this with other places too, constantly re-examining the areas, to get the atmosphere and feel of a place.
And it worked.
Plenty of other photographers have done it too.
James Ravilious with his Devon essays being a notable example; even Bruce Robbins, friend and fellow blogger, who has been taking photographs in the Carse Of Gowrie (just outside Dundee) for decades. His constant re-examination shows. He has the feel of the place nailed.

Am I saying I've got it?
NO, I definitely haven't.
I still don't think I have captured something that has made me stand back, but maybe that's a good thing because it means I am still trying.

Anyway, some photos - if it is alright with you, I'll write a wee blurb under each one to keep us all right, alright?
The young Sheephouse would have delighted in these high places in his late teens. The older Sheephouse says:

"Here y'go Son - we made it."

You've maybe seen some before, but they're only here because I've not had time.




Permafrost.
Hard to ascertain from the photograph, well maybe the icicles are a clue, but everything, including the tree, was frozen solid. Ground when it is like this is nice and easy to walk over as there is a very slight crunch and give underfoot, so you're not sliding everywhere.
Although I'd walked a couple of miles to get this at least it was mostly on the flat . . 
This was taken on the Sinar with a 150mm Schneider Symmar-S - the cheapest modern lens (nearly) that you can get for 5x4". It is a sterling performer. I think the film was Delta 100 developed in HC 110.
This would (I think) make a good very large print - I've got some 9.5 x 12" paper somewhere . . might just do that.





Lost Boulders.
These beauties were in a quite little ghetto of boulders cast aside by glacial movement, covered in dense forest, deforested, lost in the midst of modern conifer planting and now, in the past year or so, deforested again . . in other words they've been there for a bleedin' long time.
They're hanging over a helluva steep drop and it really does make you wonder about:

a./ The Mentality 

and 

b./ The Stamina 

of the forestry workers who planted that hillside.
It is beside the path that takes you up to The Shank Of Drumfollow.
Camera was the Sinar F1, a Linhof tripod, Gitzo Series 5 head . . in other words about 15 gravities of weight . . but more on that for the next photo which was taken on the same day.
The lens was the under-rated CHEAPEST way of getting into LF photography . . the humble Schneider 90mm Angulon. It just covers 5x4" with no movements, but you know what, there's something about it that takes a really nice photo. It isn't overly contrasty and has a nice way of dealing with midtones.
I was hovered over the rocks with my body supporting the tripod - it was pretty damn steep.
This being said, I could achieve exactly the same (well, better, much better, but similar) result with the Hasselblad SWC's Biogon. AND I WOULDN'T HAVE TO KILL MYSELF LUGGIN' ALL THAT STUFF!





Honest, The Camera Was 100% Level.
The Shank Of Drumfollow. Well there I was, I'd got to the top of the Col between Dreish and Mayar. It was damn misty climbing up. It had taken me nearly 3 hours to do a walk I've done in 1 hour and 40 minutes. I got to the top - ate my second choccie bar of the day, contemplating heading to Mayar, and what happened? Yep, the mist got souper-thick. This is an extra level of thickness above thick. In other words you can't see a damn thing at all. 
The only way to find your way is to get your bearings with map and compass. Lugging a Sinar F1, Linhof Twin Shank Tripod, Gitzo Series 5 head, 10 dark slides, spare gear, water, and slogging a pair of boots that weighed 1275gms PER BOOT, I was fecking knackered. 
All my enthusiasm for picking my way across a plateau to top a Munro only to be surrounded by dank mist and silence, sent me turning tail and back down again. 
Coming down, I turned around and was astonished by the near 45 degree shape of the hill with all that mist floating around, so I set up the camera and took a photograph.
I kid you not. THE CAMERA WAS LEVEL.
The lens was the 203mm Kodak Ektar; film was original Adox CHS 100 in 1:50 Rodinal.





Cairn To The Witches.
Another uphill, down-dale and UPHILL again, though fortunately not carrying a 5x4 kit. This was my Minolta Autocord - it's totally battered and scratched to buggery, but still manages to capture something.
The cairn is on the shoulder of Cairn Inks, and it was from here that witches would throw boulders and generally have a good mess around with travelers on the Clova road which follows the line of the river in the distance (well, there's two roads in a circuit actually at that point, but below the Cairn it narrows down to one long and lonely dead-end one heading deep into the hills.
I've been to this point a number of times - the hill up to it is about 50 degrees of steepness and it doesn't get any easier.





The Watcher.
I could reveal where this is, but I'd have to kill you. The stone, to me, so resembles a human sitting, watching that I need to explore it more, so Mum is the word.
It was bloomin' cold, but fortunately I was only carrying the Rollei T, Screamin' Chimp (Hakuba tripod) and me. Film was Acros 100 and developed in Rodinal.
Contrast is through the roof,





Bones Of The Earth.
This is quite a common sight on hillsides - burning back old heather cover to encourage new growth which is favoured by grouses, grousci or even just grouse. It makes for a very weird texture, sort of crispy and brittle, but resilient and bouncy all at the same time. This could have been a better photo - if I remember rightly it was the Rollei T and I was stuffed for DOF because I was in close.
Must go back with the SWC.
This being said, aren't those distant hillsides impressive . . but I wouldn't like to climb them!


And that's about it really - where has this long ramble got us?
Well, if you are inclined to get out and explore nature, do it, enjoy yourself, but TAKE YOUR TIME. Munros and other mountains, countryside, hills and Corbetts aren't a competitive sport - they're for contemplation, reflection and exploration and maybe, if you're inclined to pick details, then they can be incredibly revealing of the nature of land and man's interaction with it AND ALSO your own place in that landscape and what it means/has meant to you.

The countryside isn't just somewhere you go through to get from A to B. it is a living, nurturing entity that can teach you a whole deal about yourself if you give it a chance.

TTFN, now where did I put my laxatives . . .