Early Summer at John Muir Country Park, Scotland
I began with this picture because it representated a departure for me, and a point when I began a long journey of investigation, which is ongoing. I had become fascinated by the effects of sunlight passing through foliage, and it gave me a completely new direction in terms of landscape photography. Instead of the broad, I began to focus on the intimate, and instead of the general, the particular.
I had walked past this scene many times and was waiting for the foliage to really wake up as it does in early summer, and before it becomes tired-looking. One day I realised that the moment had come and I went back to the car to get my gear. I used an MPP MkVIII folding 5×4 technical camera, which is a very similar beast to the German Linhof Teknica, but made by a company in London. These are really nice machines, and usually pretty cheap to acquire, much less than a Tek, anyway.
Picture: Rod Fleming
I grew up in a world where photography, especially monochrome photography, was synonymous with ‘truth’. That was never strictly accurate, of course, and as a photographer I knew the extent to which the truth can be manipulated. Nevertheless, as evidenced by the incredible work we saw every day in the newspapers of the 60s, which I consumed with passion while still at school, a photograph was regarded as an equivalent to reality; it was not just a representation of truth, but an affirmation of it.
“Look,’ it said, ‘This is a true thing; I stand witness to that.’ Even today, when PhotoShop has put tricks of the trade that I spent years learning at the click of an amateur’s mouse, photographs brook no argument. The leaves really were that green, the sunset that orange, the woman so perfect. Yet perfect beauty was never in the sorcery of the darkroom or the airbrush artist’s hand, nor is it in the magic of digital manipulation; real beauty is actually real. It needs no PhotoShopping or dastardly manipulation, only to be seen and known, and recorded.
The other part of my life, however, is very different from the ascetic artist whose delight is in the expression of pure form or idea. As a musician, I am by definition an entertainer. And my professional photographic career has been mainly in Photojournalism. Indeed, long before I immersed myself in Weston and Brandt I was mainlining Cartier-Bresson and Don McCullin. Continue reading