This year was to be a year of exhibitions, projects, books, and workshops; it has turned out rather differently. Over the past weeks and months I have instead been concentrating on writing and printing. In particular I have been cyanotype printing, using negatives made from some of my photographs, but also, as with the work above, photograms made from pressed flowers. These three prints, made on a delicate hand-made paper from Bhutan, are mounted together on an A3-sized board to form a one-of-a-kind artwork. I’m selling this work, and other cyanotypes, over at my photography website (there are books and other prints for sale there too). Selling prints has been a great source of encouragement this Spring, so thank-you to everyone who has helped support me and other artists this way.
On Tuesday December 10th I went to the British Library in London to receive the 2019 Michael Marks Award for illustration of a poetry pamphlet. I’ve written a bit more about this over on my photography website chrisroutledge.pictures, but the short version is that this was for the photographs in Carousel, my collaboration with poet Rebecca Goss, published by Guillemot Press.
Receiving the award was a wonderful way to end 2019, which has been quite a big year for my photography. Back in October I had my first solo exhibition, at the Heaton Cooper Studio Archive Gallery in Grasmere (there are still some copies of the accompanying limited edition book available). I also exhibited at the Liverpool Art Fair, and I have two limited edition prints in the dot-art gallery’s Liverpool Collection, which you can see (and buy from there) until January 18th. The two prints are best seen in person, but if you want to take a look they are Mersey Docks and Harbour Board (Mann Island) and Futurist.
I’m excited to announce that my collaborative book with poet Rebecca Goss is available from Guillemot Press today. It’s in a limited edition of 200, and like all Guillemot books is beautifully made and presented. This project has been simmering for over eight years, and we are delighted with the way it turned out. You can buy the book from Guillemot Press here.
More information is on the Open Eye gallery website.
Last week I had some exciting news. I have been selected to exhibit my photography in the Northern Exposure exhibition at the Portico Library and Gallery in Manchester. Northern Exposure is an annual exhibition of the work of seven or eight artists from the North of England. This year the exhibition is taking place from 3-30 July, during the Manchester International Festival, so it is a great opportunity for me as a photographer, and one I know I am lucky to have been offered.
For as long as I can remember I have been interested in where the boundaries lie between rural and urban, natural and human-made. Even in my relatively short lifetime British culture has become significantly more urban-centred (and London-centric), but of course the process goes back much further than that. I have begun choosing the eight or so pictures for hanging in the exhibition and all of them will explore the ways in which human activity and nature interact, the human influence on apparently natural landscapes, and how we have come to see the natural, or perhaps unnatural, world.
More of my work is over at my photography website Mottershead and Hayes.
Over on my photography blog, some pictures of Lime Street, Liverpool, in reflection.
It’s been a couple of years now since I started using film cameras again and I have become quite attached to two of them in particular. I’ve written about the Zorki 4 rangefinder here before and if anything I’m more impressed with that now than I was back then, in the excitement of shooting my first roll of film in a decade. The Zorki–and its Jupiter 8 lens–is a great carry around camera that works really well in the street, but for a slower style of photography I’ve taken to using a Yashica Mat 124G. This is a black brick-shaped hunk of metal from the early 1980s which produces square negatives on medium format 120 film and makes images with fine detail and beautiful, smooth, out of focus areas.
Where the Zorki is a crude but effective tool, the Yashica Mat is a precise and delicate instrument. That’s not to say it isn’t robust–this one is over 30 years old and works perfectly–but if I was looking for a bludgeon to whack a burglar and still be able to take pictures of the crime scene afterwards, I’d pick the Zorki. The 124G is what is known as a “Twin Lens Reflex” or “TLR” camera, because it has two lenses, one for viewing (the top one), and one for actually taking the picture (the one below). The viewfinder flips up from the top and you look down into it to frame and focus the image, which appears back to front on a piece of ground glass. There is a little magnifying glass to assist with fine focussing. It’s a very simple system and it works well, but if you want to get it right, you have to take your time. Given the cost of film and the fact that you only get twelve shots per roll, you’ll want to take your time anyway. This is the last in a long line of made-in-Japan Yashica homages to the more famous German Rolleiflex.
There is a real sense of occasion when using this camera. It’s theatrical in a way that most cameras are not. Back in the days when owning a car was something special, people would make a decision to “take the car out” as a treat. Using the Yashica Mat feels just like that. Being fully manual–it has its own light meter, but it’s not coupled to any settings–you have to check the light and set the aperture and shutter speed to get the correct exposure. Like making good coffee, you have to go through a process, and do it mindfully and with care. Most digital cameras can be operated one-handed, an ergonomic development we can thank for the rise of the selfie, but for the Yashica Mat you need three hands. It’s best to have it hanging round your neck or on a tripod while you set it up. Yet for all this inconvenience and fiddling around, once you get the hang of it it’s surprisingly easy and pleasant to use. All the settings can be seen looking down at the top of the camera, which is what you’ll be doing anyway while you are framing the shot, and what you see in the viewfinder is pretty much what you see when the negatives come back from the lab.
I had a soft spot for these kinds of cameras even before I acquired this one. My Dad had a Yashica TLR in the 1970s (a 635 I think) and I have happy childhood memories of him in holiday clothes, head bowed into the viewfinder while we smiled and tried not to blink at the wrong time. Since I started using one myself I’m even more taken with it. As an object it really looks the part, but it is also a functional and highly effective design, with a superb, sharp 80mm f/3.5 Yashinon lens. And when you use it it makes people smile.
At the risk of turning this blog into the story of what I did on my holidays I thought I would post a few pictures of Jarlshof, a prehistoric site at the southern tip of Shetland, at Sumburgh Head. It is generally considered the most important prehistoric site on Shetland, dating back to around 2500BC and inhabited more or less without interruption until the 1600s. Sir Walter Scott was a commissioner for the lighthouse at Sumburgh Head and set his novel The Pirate (1822) in the most modern of the houses at Jarlshof, the biggest ruin in the pictures.
What I most like about sites like this is the sense of people living in them. You can imagine these rough huts, with their turf roofs, and would be glad of their shelter even now. I particularly like the way that the geometric patterns of human dwellings is both imposed on the landscape and is forced to fit into it.
Apart from the Norse long house and the latest building, almost everything here is curved, and yet even the curves are built from layers of rocks, laid carefully upon on one another with a plan in mind.
Jarlshof contains most of the types of ancient construction used on Shetland, from early buildings to brochs and wheelhouses, and a Norse settlement that dominated the village for 400 years from the 800s AD. There is also a medieval farm and, most prominent of all the New Hall, which inspired Scott. Anyway, Jarlshof is a fascinating, atmospheric place. I hope you enjoy the pictures.
If you want to license any of these images for use elsewhere, please get in touch using the contact form.
Like most people who enjoy taking pictures the closest I get to photographing unusual wildlife is at the zoo. While an ancient film camera is perfectly adequate for shooting the exotic creatures stalking the streets of Liverpool, I don’t have the funds for the kind of equipment needed to get really close-up shots of anything more reclusive. Even so, a trip to Shetland seemed like an opportunity to play at wildlife photography, so I borrowed a Tamron 18-200mm ‘superzoom’ lens from my sister (Thanks Sis) and set out with high hopes. We had three goals: to see dolphins, whales, and puffins.
We got lucky on day one when our neighbour (and owner of our holiday apartment) came over to say that orcas had been spotted just off the coast nearby. It turned out to be a pod of four (or maybe five) and they treated us to a spectacular display of the kind that wildlife television crews sit around in wet tents for months to see.
This included a demonstration of seal throwing that was both thrilling and quite harrowing to watch, especially when it became clear that they were doing it for fun and not for food. You can’t see the seal in the picture above, but it’s in there somewhere.
Even at 200mm the lens wasn’t really adequate at that distance–I reckon I needed at least twice that to get really close–but some cropping helped bring them closer. Here’s an excellent video taken by John Moncrieff not long before we arrived.
We had even more good luck at Sumburgh Head the following day, where not only were there loads of puffins scattered across the sloping cliff tops, but a pair popped out of their burrow right at our feet.
Photographing these birds was easy. They were well within the range of the 200mm lens–some of them were close enough to photograph with a phone–and even those further away kept still long enough for me to compose the shot.
It was trickier capturing them in flight. The autofocus on the Tamron lens just wasn’t fast or accurate enough to lock on to them as they approached from the sea.
Tracking them as they took off and plunged down the cliff was easier, but I wanted a landing shot.
I finally got one as we were leaving, but more by luck than judgement. This image is cropped too as the bird was quite far away. I was quite impressed by the lens, which is small and light despite its wide range, but it is an old design now and the slow autofocus and lack of stabilisation were sometimes irritating. I’d go for the newer Tamron 18-270mm, which has a welcome extra bit of reach and is stabilised to reduce camera shake. Overall, despite the limitations, it was refreshing to use one ‘do everything’ lens for a change. If I was thinking of buying a new crop-sensor DSLR I’d be tempted to buy a body on its own and one of these to go with it, rather than the standard kit lens.
We never did see dolphins, but getting this close (and closer) to these charming little birds, while they ignored us, was quite a thrill.