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Posts tagged ‘black and white photography’

Churches Project no.14 – All Saints, Nether Cerne, Dorset

This medieval church was mainly built in the late 13th Century of flint and stone; the tower was added in the 15th Century. Sited next to a manor house and just a few steps away from the river Cerne, it really does enjoy a tranquil rural setting in the valley.

The parish was once in the endowment of Cerne Abbey and was served by its Benedictine monks until the dissolution of the monasteries in 1539. Parish services ceased in 1968 and this charming church was sadly made redundant in 1971. Fortunately two years later it was vested in the Churches Conservation Trust, who still care for the building to this day.

There is both sadness and joy to be felt as I walked around its simple interior. Sadness in the sense it has not been used for regular worship for over 40 years, but joy in the knowledge that it is being preserved. To me it still has an air of solitude, and a peace which cannot always be found in a church which is in regular use. The lack of electric lights, radiators, church notices and all the accessories required in a fully functioning parish church are not present here. These things can be a distraction from the delights to be had in a building which evokes memories of a long and distant past.

Do click on any image to view a larger version which will open in a new window.

Churches Project no.12 – St Mary the Virgin, Upwaltham, West Sussex

The church of St Mary the Virgin is very often called ‘The Church in the Field’ and it’s very easy to see why it has adopted this name. Situated on a hillside with the South Downs for company, this lovely countryside church has fields and footpaths as its neighbours. At this time of year the graveyard is full of white daises and when they catch the wind the scene becomes quite enchanting.

The interior has hardly changed since its origins in the 12th Century. Plain, simple and largely lit by candles; which is just how I like it. This is one of a handful of churches in the whole country with a semi circular or apsidal chancel. I visited another church recently with a similar feature in North Marden, also in West Sussex.

There are very few properties in Upwaltham but I have read that at one time the church served a medieval village. In times gone by it would have been a very tranquil place to live, but today the valley floor plays host to the main road between Chichester and Petworth – the A285. It is perhaps the only thing which detracts from this delightful church; as cars rush by, the drivers probably fail to notice ‘The Church in the Field’. If only they stopped to enjoy the delights of this truly charming Sussex countryside church, it would take them back to quieter and possibly less stressful times.

Churches Project no.11 – St Nicholas, Moreton in Dorset

The church of St Nicholas, Moreton in Dorset

According to Christopher Winn in his book ‘I never knew that about England’s Country Churches’, St Nicholas in Moreton Dorset is the only church in the whole world to have all its windows in engraved glass. I have no reason to doubt this fact but whether it is true or not, this building is a true gem. It also happens to be the burial place of St Lawrence of Arabia, so has quite a claim to fame.

The west window

Parts of the church and the original stained glass windows were all destroyed by a German bomber in 1940. It took ten years to rebuild the church and the windows were originally replaced with green glass. The parishioners of this tiny village didn’t warm to this new look and the architect overseeing the work suggested consulting Laurence Whistler, a renowned glass engraver as well as a poet and writer. As a result he was commissioned to redesign the windows.

One of the five windows in the curved apse

The first five engraved windows to be installed were in the curved apse and this work was carried out in 1958. These were designed by Whistler but produced by a commercial firm. All the remaining windows were personally engraved by Whistler and fitted over a period of 30 years between 1955 and 1985. The commissioned work must have cost the church and its donors an absolute fortune but the results are truly spectacular. Many of the windows are engraved on both sides which gives a 3D effect.

The south facing window shown below, is a thing of great beauty whether viewed internally or externally.

A south facing window

The same south facing window from the outside

Detail from the bottom left hand corner of the south facing window

The most controversial engraving is that of a man hanging from a tree with coins spilling from his hand. It depicts Judas, the betrayer of Christ and is only visible from the outside. This section of the window is obscured from the inside by a wall monument. This engraving was not well received by the parishioners initially and was only installed in 2014, some fourteen years after Whisler’s death in 2000. This particular window was donated to the church by Whistler himself so he must have felt rather betrayed that it was not accepted by the church at the time of its presentation. I can quite understand why its macabre depiction of Judas would have caused a very mixed reaction.

Judas – donated by Whistler himself

The church is filled with light and each and every window is full of the most remarkable detail, unlike anything else you will see elsewhere, let alone in a small country church in the lovely county of Dorset.

More detail from the south facing window

Again more detail from the south window

One window is dedicated to Noel Findlay and the words in the right hand pane ‘and his gift of happiness’ have so many meanings in this rather wonderful place of worship.

The lower half of a north facing window in memory of Noel Findlay

To fully appreciate the superb glass engravings do click on any image to open a larger version.

Transient light – when mono works as well

One of the joys of blogging are the comments that are made and these are of particular benefit to me when they offer constructive suggestions about an image. Yesterday I posted a colour image called ‘Transition’ in a post entitled ‘Transient light – when only colour will do’. One of the comments I received came from John Dominick, a friend and fellow photographer, who said he would like to see a mono interpretation. This came as something of a surprise to me, as it had never crossed my mind to convert the photo into black and white. Given that I have almost exclusively been working in mono for the last few years, you would have thought it would have been my default approach, and not just dismissed without consideration.

I am therefore very grateful to John for planting this idea in my mind as the mono version (converted in Silver Efex) in my opinion works just as well. It’s a very different image now, there is more drama and atmosphere in the shot but this aspect of black and white photography has always appealed to me.

Having made this second image it has made me think about combining or blending in Photoshop both the colour and black and white versions to see what can be created. This is my task for today and I shall aim to post a third version of ‘Transition’ tomorrow.

I always try and reply to comments and in this example respond to any constructive ideas put forward. Thank you as always for your feedback, it’s most welcome.

Out of the shadow – seizing the moment

Out of the shadow

I don’t regard myself as a street photographer but I do think of myself as an opportunist. With only my iPhone to hand, I was out and about and spotted the stark contrast between what I considered to be an interesting wall, with its mixture of windows and drain pipes, and the deep shadow cast by a building on my side of the road. I found it appealing but the missing ingredient was a person walking in front of the partly obscured window. I didn’t have to wait very long before a woman approached the scene, pulling a shopping trolley and with her head well wrapped in a head scarf. iPhone at the ready and the shot was taken.

The image was processed in Silver Efex Pro. I further accentuated the shadow, added some grain, and a border which I very rarely do, but I felt it suited this particular photograph.

An iPhone is a great street camera. Everyone these days seems to have a mobile phone in their hand on an almost permanent basis and if they aren’t looking at the screen, you know it will not be very long before they next do so. In essence they are totally unobtrusive and nobody knows you are taking a photograph with a smartphone because they are so prolific. They are virtually silent in operation and you could just as easily be texting your best friend and not taking a photograph at all.

So whilst for me a phone will never replace my camera, they do allow you to seize the moment when the opportunity presents itself.