Having experimented with Matte Plus paper at 240 gsm, I then tried using Smooth Pearl at 285 gsm and Ultra Pearl at 295 gsm as well as FB Matte at 310 gsm. At the end of the day my preference is for the FB matt. It has that feeling of quiet contemplation for which I was searching, had the requisite sharpness and I liked the feel and weight.
I have decided to use A3+ paper rather than A3 as I planned to trim the images to a square format and at A3 I felt that this would reduce their impact. The A3+ paper should compensate for that.
Friday, 30 June 2017
Monday, 8 May 2017
Revised Evaluation of my Body of Work.
In his feedback to my Body of Work, my tutor felt that my evaluation was bold and honest, although a little long. In light of this comment I have edited it somewhat and the revised version is included below.
Evaluation of Body of Work
I began my Level 3 work having scored
consistently in the high 50s at summative assessment for my Level 1 and Level 2
modules with a desire to achieve marks at least in the 60s. It soon became apparent to me that reading
and research had been lacking in earlier work.
An important landmark was attending the Barnsley Residential Study
Weekend in June 2015. It was at Barnsley
that I realised that the work I was producing and the lack of academic research
backing it up was not up to a ‘good’ creative arts photography degree. Tutors and fellow students felt that the work
that I had taken was too scientific and too much within my comfort zone and
certainly not risk-taking enough. My blog link to the visit can be found
here. A huge benefit of this weekend was meeting
fellow students and seeing their work. I
was fortunate that, following the visit, I was able to join some of them in a
fortnightly Peer Led Google Hangout to discuss our work. This has been invaluable from the point of
view of receiving critiques of my own work, sometimes harsh and truthful, but
always constructive and also helping to critique the work of others. Since the Barnsley weekend I have attended
study visits at The Hepworth in Wakefield, Sheffield and particularly the
weekend residential for the Brighton Bienniel.
The work I submitted for Assignment 1 was
weak. I had already had thorough
feedback from the Barnsley Weekend, yet still I ploughed on with that
work. In retrospect I was no doubt
feeling some time pressure with a deadline looming, but I should have given
myself the time to go back, do some thorough research, think about what I
wanted to say and start again. However,
I felt that I was floundering after the weekend and was still absorbing all of
the criticisms and ways forward and felt that I would submit the work, revised
a little in the light of the weekend, and see what my tutor had to say. He felt that ‘floundering’ was an
uncomfortable position to be in, but it could be turned to my advantage,
although I should be careful not to slip back into safe and habitual patterns
of thinking. When working towards
Assignment 2 I hadn’t really taken this last point in. My tutor thought that some of the images did
work, there was plenty of investigation going on in my blog and suggested ways to
progress. He guided me away from the
images I had taken in woodland, inspired by Eliot Porter, as this would take me
too much down a scientific, non-creative line.
When considering where my Body of Work has finished, I feel it wasn’t
the wood that was the problem, just my approach to it. Having reflected on this first tutor
report I opted to
concentrate on two of my ideas from Assignment 1: flowers within an industrial
landscape and The Water Rail Way/ River Witham, deciding to focus on the second
of these options.
On rereading my reflections on
Assignment 1 and the tutor feedback I feel that I could have made more of the
industrial landscape aspect, although there was a danger of yet again straying
into the scientific and picturesque. The
River Witham provided a link with my childhood, the river and the old railway
line and there was scope for investigating landscape and memory. Regrettably, I defaulted to a picturesque
style when documenting the journey of the river from source to sea, compounded
by the fact that I quoted Tennyson’s poem The
Brook thereby unintentionally allying myself uncritically within the
Victorian World view. I had, by this
time, begun to play catch-up with my reading and research and had looked at the
work of Alec Soth, Jem Southam and Andreas Muellerpohle yet didn’t apply what I
had learned to my work. My reading and
research still continued to be divorced from my practice.
Another mistake I made in Assignment 2
was to provide too much information in my accompanying text, one of my Hangout
Group remarking that I had provided so much information that he no longer felt
he needed to see the pictures. I was
still straying into scientific/geographical descriptions. It was felt by the group that my thinking was
unclear and the confusion was evident in the images although, I did then
further edit before submitting Assignment
2. The group unsurprisingly
agreed with my tutor’s comments and, if anything, were even harsher in their
criticism, whilst remaining very supportive. However, my tutor felt that some
of the images did work, particularly the use of soft grey light which added to
the sensitive and tentative feeling, one in particular being taken from a high
viewpoint, which, with the soft light, helped separate it from the postcard
views that were so ubiquitous. He felt
that there was the start of a personal voice that was less evident in some of
the more literal sections of the series.
The use of soft, muted lighting was something I learned and have put to
good use in later work.
At the start of Assignment 3 I still
clung to the idea of the River Witham , its valley, and the large number of
Abbeys. In order to investigate these I
decided to walk from Lincoln along the Viking Way Long Distance Footpath to my
childhood home of Woodhall Spa visiting and documenting these abbeys and the
walk. I think that whist working on this
assignment, two things emerged which finally began to change me from a
landscape and a scientific wildlife photographer into a creative arts
photographer. Firstly while sharing the
early work to the Hangout Group the comment was made, “Why Walk?” It was only on reflection that I realised
that that was what I did and had done all of my life; I was a walker. This re-directed me and I spent much time
researching photographers, artists and writers who had used walking as an
inspiration for their work. The second
was when my tutor wondered why I was still including images of the abbeys in the
work. The focus now changed, for the
remainder of my body of work it has been about walking.
I was encouraged when I read the
opening statement on my tutor’s report: “A sense of focus is beginning to
emerge as you reach deeper for your personal voice”. I had sent some sample prints with the work
which were received positively.
As my walk for Assignment 3 had passed
through some of the ancient Lincolnshire Limewoods, I began to centre my
explorations on woodland, concentrating on photographing the paths along which
I walked. I also made the decision to
crop the images to square, initially to maintain uniformity of format, but
later I realised it helped to distance my work from the picturesque. I had now begun to eliminate the horizon. Colleagues
and tutors at Brighton and in the Hangout Group felt that this reduces the
ability to resolve the images in the frame making the viewer enter into a
dialogue with them. As I worked towards
Assignment 4 comments about the work were becoming more positive. Several still felt that the text was too long
and Clive White at Brighton strongly recommended removing the more romantic
references.
Again the tutor feedback from
Assignment 4 was generally positive; I was sharing the work widely and
absorbing everything I could. Rob felt
that the images looked lovely on screen, although some of the prints lacked
clarity, perhaps because of the textured, heavyweight matte paper I had
used. I have since experimented with
printing on different papers and sent them for his observations. We both feel that those printed on Oyster
paper were preferable. He did still feel
that the text still contained too many ideas and I need to keep it
focused. This is perhaps where the
challenge lies as I work towards assessment.
Another suggestion made in the feedback was to go back to the woods to
the extremes of the pathways I had photographed and look there for the starting
point for the next exploration. I had
already been investigating this idea and had discovered paths that are not paths;
at least not human ones. When we think
of footpaths the tendency is to think of human paths, but the faintest most
ephemeral tracks, perhaps just a bent blade of grass or scuffed leaves are most
likely not human. And when these peter
out all that is left is wild wood.
As my work has progressed I feel that
I am beginning to discover my personal voice.
From my reading and discussions and, especially an OCA forum discussion
lead by Clive White and Peter Haveland, I feel that a personal voice is
difficult to grasp. Peter says that it
is not about style or technique. I have
latterly put aside my DSLR bodies, macro and long telephoto lenses, filters,
differential focussing and used my small mirrorless compact for much of my
work. The only technique I have tended
to stick to is using a tripod to make sure that everything is sharp and in
focus, although, in some situations this is not the most important
criterion. Peter says that it is to do
with making work that is recognisably yours and is about something you want to
say. Although my personal voice may be
beginning to develop, I feel that it may still be like a stuttering candle
flame. I keep in mind, though, that Body
of Work is not the end of my studies and my personal voice will continue to
develop during Sustaining Your Practice and beyond.
During my progress through BOW I have
had highs and lows. Lows were when I
thought I was beginning to get things right but hangouts and tutors thought
otherwise. I have found that these times
are when most learning takes place. I
have been tempted at times to give up, but after reflection, I feel that I have
always moved forward and improvement has taken place. My tutor has always been supportive but
challenging. I have valued this and it has helped me to progress. I have also to thank one of my peer group, in
particular, for supporting me through one particular low patch. We exchanged many emails until he had counselled
me through this phase. I have thoroughly
enjoyed my increasing levels of reading and research and this has brought me
into contact with photographers, artists, writers, students and tutors, all of
whom have influenced and inspired me.
There have been high points too, in particular when I first shared work
to the Hangout Group and received positive comments about my work. There was also the occasion when I received a
comment of “excellent” from my tutor on one section of his report and the times
when he has commented that he was beginning to see a personal voice emerging or
he felt that I had done enough research and needed to absorb it and finally the
excitement in his voice when he looked at a particular image.
Looking forward, I currently see my
work as a gallery exhibition, perhaps with an accompanying audiovisual
component. There are several venues
locally that I am in the process of exploring for this to happen. Helped by the fact that there is a highly
thought of fine art department at our local university department, there is a
thriving art and gallery scene in this area.
I have already begun a process of networking, talking to artists, a post
graduate art group, curators and photographers and I hope to become part of an
ArtSpeak ArtWork initiative led by Meridian Arts. Although I will be submitting my portfolio
for the final Body of Work assessment as a set of prints, I see scope for the
work developing further during the Sustaining Your Practice module.
Tuesday, 18 April 2017
Revised Introduction to My BOW
Having reflected on the feedback from my tutor on Assignment 5 I have revised my introductory text in line with his comments:-
Shul
The Tibetan word for a
track is shul which
means "a mark that remains after that which made it has passed by - a
footprint, for example. A path is a shul because it is the impression in
the ground left by the regular tread of feet, which has kept it clear of
obstructions and maintained it for the use of others." (Solnit, 2005, P.51). My work focuses on woodland paths, shuls, and walking
them allows me to slow down, to fully experience and appreciate the landscape
through which I travel.
Like artists and
photographer Hamish Fulton, Richard Long and Paul Gaffney I have long found
walking to be a meditative experience (Turner Contemporary website, 2012; Global Archive Photography, 2015). Roger
Deakin writes ‘To enter a wood is to pass into a different world in which we
ourselves are transformed. It is where you travel to find yourself,
often, paradoxically, by getting lost.’ (Deakin, 2007, P. X).
Following a woodland path
is not straightforward. The horizon is
limited. Woods muffle external sounds
leaving only birdsong, the rustling of leaves or the creaking of trees in the
wind. Choices have to be made. The path may be broad and well-defined;
boundaries may be clear with wild and tangled undergrowth beyond. Other paths are less definite, ephemeral, a
trace of a path. Perhaps there will only
be a bent blade of grass or scuffed leaves that indicate that something has
passed this way. Is the decision made to
remain on the wider track, safer, more secure where many have travelled before;
or is it to follow the less sure route and, if so, what is to be found at its furthest
extremity? Nothing - just the wood? Or is there a way forward by making one’s own
path and forging a new route?
Bibliography
Bowditch, T and Rochowski, N. (2016) Paul Gaffney Global
Archive Photography Available from:
http://globalarchivephotography.com/project/paul-gaffney/ [Accessed
23.2.16]
Fulton, H. (2017) Hamish Fulton [online] Available from:
http://www.hamish-fulton.com/ [Accessed 18.4.17]
Gaffney, P.(2017) Paul Gaffney [online] Available from: http://www.paulgaffneyphotography.com/
[Accessed 18.4.17]
Long, R. (2017) Richard Long [online] Available from:
http://www.richardlong.org/ [Accessed 18.4.17]
Rohrauer. C (2014) Claudia Rohrauer [online] Available from: http://www.claudiarohrauer.info/?/work/photo-trekking/
[Accessed 18.4.17]
Solnit, R. (2006) A Field Guide to Getting Lost, Edinburgh, Canongate Books
Turner Contemporary (2012) Hamish Fulton: Walk
[online] Available from:
https://www.turnercontemporary.org/media/documents/Hamish-Fulton-background-resource.pdf
[Accessed 18.04.17
Friday, 7 April 2017
Assignment 5. Tutor Feedback Received
I have just received the feedback on Assignment 5 from my tutor. I found it enjoyable reading and very encouraging. He begins by saying that it is a good point to end the module and he anticipates the prints looking very impressive at assessment. A few suggestions have been made to improve the introduction to the work and these will be taken on board. Although I had included a video presentation of the work, he doesn't feel that this adds anything extra and could be left for web viewing. I accept this and will leave the link on my blog for interest, but not present it for assessment, using just the prints. It was felt that my evaluation was bold and honest, although a little long. I shall edit it down somewhat.
From reading my SYP blog it was felt that my networking is going rather well.
I was particularly pleased with the closing statement:-
"Well done Mike. You’ve shown an exemplary studentship and there’s been plenty of conceptual progression too. You’re well positioned for SYP."
So for assessment I need to edit my introduction and evaluation a little, finalise the paper I am going to use for printing and print the images.
From reading my SYP blog it was felt that my networking is going rather well.
I was particularly pleased with the closing statement:-
"Well done Mike. You’ve shown an exemplary studentship and there’s been plenty of conceptual progression too. You’re well positioned for SYP."
So for assessment I need to edit my introduction and evaluation a little, finalise the paper I am going to use for printing and print the images.
Saturday, 18 March 2017
Body of Work, Assignment 5. Final Submission.
Having discussed this body of work with my tutor I agree that the work sorts itself into two series: wide paths with holes through the vegetation and narrower, more indefinite paths. Having given this much thought I have decided to separate out the wider paths and focus on the more indefinite, with a view to using the others at a later date as I anticipate the work developing through the course of SYP.
I have also produced these images as a video with some of the introductory text. Please click THIS LINK
So the final images are:-
I have also produced these images as a video with some of the introductory text. Please click THIS LINK
So the final images are:-
 |
| 1 |
 |
| 2 |
 |
| 3 |
 |
| 4 |
 |
| 5 |
 |
| 6 |
 |
| 7 |
 |
| 8 |
 |
| 9 |
 |
| 10 |
 |
| 11 |
 |
| 12 |
 |
| 13 |
 |
| 14 |
 |
| 15 |
Tuesday, 7 March 2017
Body of Work Evaluation
As part of assignment 5 for BOW we are required to submit an evaluation of our work. I include it below.
Evaluation of Body of Work
I began my Level 3 work having scored
consistently in the high 50s at summative assessment for my Level 1 and Level 2
modules with a desire to achieve marks at least in the 60s. It soon became apparent to me that reading
and research had been lacking in earlier work.
An important landmark was attending the Barnsley Residential Study
Weekend in June 2015. It was at Barnsley
that I realised that the work I was producing and the lack of academic research
backing it up was not up to a ‘good’ creative arts photography degree. Tutors and fellow students felt that the work
that I had taken was too scientific and too much within my comfort zone and
certainly not risk-taking enough. My blog link to the visit can be found
here. A huge benefit of this weekend was meeting
fellow students and seeing their work. I
was fortunate that, following the visit, I was able to join some of them in a
fortnightly Peer Led Google Hangout to discuss our work. This has been invaluable from the point of
view of receiving critiques of my own work, sometimes harsh and truthful, but
always constructive and lso helping to critique the work of others. Since the Barnsley weekend I have attended
study visits at The Hepworth in Wakefield, Sheffield and particularly the
weekend residential for the Brighton Bienniel.
The work I submitted for Assignment 1 weak. I had already had thorough feedback from the
Barnsley Weekend, yet still I ploughed on with that work. In retrospect I was no doubt feeling some
time pressure with a deadline looming, but I should have given myself the time
to go back, do some thorough research, think about what I wanted to say and
start again. However, I felt that I was
floundering after the weekend and was still absorbing all of the criticisms and
ways forward and felt that I would submit the work, revised a little in the
light of the weekend, and see what my tutor had to say. He felt that ‘floundering’ was an
uncomfortable position to be in, but it could be turned to my advantage,
although I should be careful not to slip back into safe and habitual patterns
of thinking. I think that whilst working
towards Assignment 2 I hadn’t really taken this last point in. My tutor thoughtthat some of the images did
work, there was plenty of investigation going on in my blog and suggested ways to
progress. He guided me away from the
images I had taken in woodland, inspired by Eliot Porter, as this would take me
too much down a scientific, non-creative line.
When considering where my Body of Work has finished, I feel it wasn’t
the wood that was the problem, just my approach to it. Having reflected on this first tutor
report I opted to
concentrate on two of my ideas from Assignment 1: flowers within an industrial
landscape and The Water Rail Way/ River Witham, deciding to focus on the second
of these options.
On rereading my reflections on
Assignment 1 and the tutor feedback I feel that I could have made more of the
industrial landscape aspect, although there was a danger of yet again straying
into the scientific and picturesque.
Likewise with the River Witham I think that I could have investigated
the link with my childhood, the river and the old railway. I think that there is scope here for some
work involving landscape and memory. Regrettably,
I defaulted to a picturesque style when documenting the journey of the river
from source to sea, compounded by the fact that I quoted Tennyson’s poem The Brook thereby unintentionally
allying myself uncritically within the Victorian World view. I had, by this time, begun to play catch-up
with my reading and research and had looked at the work of Alec Soth, Jem
Southam and Andreas Muellerpohle yet didn’t apply what I had learned to my
work. My reading and research still
continued to be divorced from my practice.
Another mistake I made in Assignment 2
was to provide too much information in my accompanying text, one of my Hangout
Group remarking that I had provided so much information that he no longer felt
he needed to see the pictures. I was
still straying into scientific/geographical descriptions. It was felt by the group that my thinking was
unclear and the confusion was evident in the images although, I did then
further edit before submitting Assignment
2. The group unsurprisingly
agreed with my tutor’s comments and, if anything, were even harsher in their
criticism, whilst remaining very supportive. However, my tutor felt that some
of the images did work, particularly the use of soft grey light which added to
the sensitive and tentative feeling, one in particular being taken from a high
viewpoint, which, with the soft light, helped separate it from the postcard
views that were so ubiquitous. He felt
that there was the start of a personal voice in those parts that was less
evident in some of the more literal sections of the series. The use of soft, muted lighting was something
I learned and have put to good use in later work.
At the start of Assignment 3 I still
clung to the idea of the River Witham and its valley, being intrigued by the
large number of Abbeys. In order to
investigate these I decided to walk from Lincoln along the Viking Way Long
Distance Footpath to my childhood village of Woodhall Spa visiting and
documenting these abbeys and the walk. I
think that whist working on this assignment, two things emerged which finally
began to change me from a landscape photographer in the grand tradition and a
scientific wildlife photographer into a creative arts photographer (quote from
Clive White about my work on a forum post).
Firstly while sharing the early work to the Hangout Group the comment
was made, “Why Walk?” It was only on
reflection that I realised that that was what I did and had done all of my
life; I was a walker. This re-directed
me and I spent much time researching photographers, artists and writers who had
used walking as an inspiration for their work.
The second was when my tutor wondered why I was still including images
of the abbeys in the work. The focus now
changed, for the remainder of my body of work it has been about walking.
I was encouraged when I read the
opening statement on my tutor’s report: “A sense of focus is beginning to
emerge as you reach deeper for your personal voice”. I had sent some sample prints with the work
which were received positively. He felt
that the work was subtle and was going to need some solid writing to support
it, but he felt that it was already underway in my blog.
As my walk for Assignment 3 had passed
through some of the Lincolnshire Limewoods, relicts of our ancient primeval
forest, I began to centre my explorations on woodland, concentrating on
photographing the paths along which I walked.
I also made the decision to crop the images to square, initially to
maintain uniformity of format, but later I realised it helped to distance my
work from the picturesque. I had now
begun to eliminate the horizon which colleagues and tutors at Brighton and in
the Hangout Group felt reduces the ability to resolve the images in the frame
and the viewer needs to enter into a dialogue with them; they question the
viewer. As I worked towards Assignment 4
comments about the work were becoming more positive. Several still felt that the text was too long
and Clive White at Brighton strongly recommended removing the more romantic
references.
Again the tutor feedback from
Assignment 4 was generally positive; I was sharing the work widely and
absorbing everything I could. Rob felt
that the images looked lovely on screen, although some of the prints lacked
clarity, perhaps because of the textured, heavyweight matte paper I had
used. I have since experimented with
printing on different papers and sent them for his observations. We both feel that those printed on Oyster
paper were overall preferable. He did
still feel that the text still contained too many ideas and I need to keep it
focused. This is perhaps where the
challenge lies as I work towards assessment.
Another suggestion made in the feedback was to go back to the woods to
the extremes of the pathways I had photographed and look there for the starting
point for the next exploration. I had
already been investigating this idea and had discovered paths that are not
paths; at least not human ones. Animal
tracks. When we think of footpaths the
tendency is to think of human paths, but the faintest most ephemeral tracks,
perhaps just a bent blade of grass or scuffed leaves are most likely not
human. And when these peter out all that
is left is wild wood.
As my work has progressed I feel that
I am beginning to discover my personal voice.
From my reading and discussions and, especially an OCA forum discussion
lead by Clive White and Peter Haveland, I feel that a personal voice is
difficult to grasp; a little like looking at something through fog. Peter says that it is not about style or
technique. As far as technique is
concerned I have latterly put aside my DSLR bodies, macro and long telephoto
lenses, differential focussing and used my small mirrorless compact for much of
my work. The only technique I have
tended to stick to is using a tripod to make sure that everything is sharp and
in focus, although, in some situations this is not the most important
criterion. Peter says that it is to do
with making work that is recognisably yours and is about something you want to
say. I am currently working on the text
for my introduction to my body of work and hope that the work and the words
will ‘come together’. Although my
personal voice may be beginning to develop, I feel that it may still be like a
stuttering candle flame. I keep in mind
though that Body of Work is not the end of my studies and my personal voice
will continue to develop during Sustaining Your Practice.
During my progress through BOW I have
had highs and lows. There have been lows,
especially when I thought I was beginning to get things right but hangouts and
tutors thought otherwise. I have found
that these times are when most learning takes place. I have been tempted at times to give up, but
after reflection, I feel that I have always moved forward and improvement has
taken place. My tutor has always been
supportive but challenging. I have valued this and it has helped me to
progress. I have also to thank one of my
peer group, in particular, for supporting me through one particular low
patch. We exchanged many emails until he
had counselled me out of this phase. I
have thoroughly enjoyed my increasing levels of reading and research and this
has brought me into contact with photographers, artists, writers, students and
tutors, all of whom have influenced and inspired me. There have been high points too, in
particular when I first shared work to the Hangout Group and received positive
comments about my work. There was also
the occasion when I received a comment of “excellent” from my tutor on one
section of his report and the times when he has commented that he was beginning
to see a personal voice emerging or he felt that I had done enough research and
needed to absorb it and finally the excitement in his voice when he looked at a
particular image.
Looking forward, I currently see my
work as a gallery exhibition, perhaps with an accompanying audiovisual
component. There are several venues
locally that I am in the process of exploring for this to happen. Helped by the fact that there is a highly
thought of fine art department at our local university department, there is a
thriving art and gallery scene in this area.
I have already begun a process of networking, talking to artists, a post
graduate art group, curators and photographers and I hope to become part of an
ArtSpeak ArtWork initiative led by Meridian Arts. Although I will be submitting my portfolio
for the final Body of Work assessment as a set of prints, I see scope for the
work developing further during the Sustaining Your Practice module.
I feel very proud that I have reached
the end of this module, hopefully, with the beginnings of a personal voice and
a body of work that it is attractive, intriguing and questions the viewer.
Body of Work, Assignment 5. Draft 4
After working on Draft 3 for assignment 5 I shared my work yet again with my Hangout colleagues. The overall opinion was that, although the whole was cohesive and the text and images went well together, there was a linearity to both. In both the images and text I had led the viewer on a pathway through a wood until it came to an end and therefore allowed a safe way back. It was felt that this was too 'safe' and removed some of the enigma and intrigue that the images had. It was also felt that the final image didn't fit the series as the patch of light was too alluring. I had wondered about this myself. I have since been out to make some new work and have selected a new final image from those. I have rewritten the text and included a new introductory paragraph in line with suggestions in the course notes. I have also reordered the images slightly.
I include my fourth draft of this assignment below.
I include my fourth draft of this assignment below.
Woodland Paths
This work focuses on
woodland paths. My formative years were
spent roaming the woods close to my home, developing a love for nature that was
to last a lifetime. Walking allows me to slow down, to fully experience and
appreciate the landscape through which I travel. Like artists and photographer Hamish Fulton,
Richard Long and Paul Gaffney I have long found walking to be a meditative
experience. Roger Deakin writes ‘To enter a wood is to pass into a
different world in which we ourselves are transformed. It is where you
travel to find yourself, often, paradoxically, by getting lost.’ (Deakin, 2007,
P. X). The Tibetan word for a
track is shul which
means "a mark that remains after that which made it has passed by - a
footprint, for example. A path is a shul because it is the impression in
the ground left by the regular tread of feet, which has kept it clear of
obstructions and maintained it for the use of others." (Solnit, 2005, P.51).
Following a woodland path
is not straightforward. The horizon is limited. Woods muffle
external sounds leaving only birdsong, the rustling of leaves or the creaking
of trees in the wind. Choices have to be
made. The path may be broad and
well-defined; boundaries may be clear with wild and tangled undergrowth beyond . Other paths are less definite, ephemeral, a
trace of a path. Perhaps there will only
be a bent blade of grass or scuffed leaves that indicate that something has
passed this way. Is the decision made to
remain on the wider track, safer, more secure where many have travelled before;
or is it to follow the less sure route and, if so, what is to be found at its furthest
extremity? Nothing - just the wood? Or is there a way forward by making one’s own
path and forging a new route?
Bibliography
Fulton, H. http://www.hamish-fulton.com/
Gaffney, P. http://www.paulgaffneyphotography.com/
Long, R. http://www.richardlong.org/
Rohrauer. C http://www.claudiarohrauer.info/?/work/photo-trekking/
Solnit, R. (2014) Wanderlust, A
History of Walking, London, Granta
 |
| 1 |
 |
| 2 |
 |
| 3 |
 |
| 4 |
 |
| 5 |
 |
| 6 |
 |
| 7 |
 |
| 8 |
 |
| 9 |
 |
| 10 |
 |
| 11 |
 |
| 12 |
 |
| 13 |
 |
| 14 |
 |
| 15 |
 |
| 16 |
Subscribe to:
Posts (Atom)