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printed directly from an antique original glass plate: taken in 1900 / measures 5" x 7" on vif Art (F2 H.P. surface) paper / exposed for 5hrs
Jacquard cyanotype kit (Potassium Ferricyanide & Ferric Ammonium Citrate) & soy milk (protein)
Toning: mixture of jasmine tea & weak coffee
Enlarger: Hansa patent enlarger in 1933 w/ Anastigmat F=125, 1:6.3
Film carrier: none
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
Sun was shining bright 16/8/17 so we headed off to Haddo House Country Park once more to enjoy everything it has to offer, I'm glad I took my camera along to capture some of the scenery this magnificent place has to offer, well worth a visit .
Haddo Park was established in 1979 and was accorded country park status in 1980.
Haddo Country Park covers around 100 hectares comprised of estate policies, grassland, plantation and mixed woodland, lake and ponds. The landscape, of which the Country Park is part, is listed in the Inventory of Gardens and Designed Landscapes in Scotland as an outstanding representative of the early 18th and mid 19th century landscape styles. The park is currently undergoing major renovation, as part of the Heritage Lottery Fund, including restoration of many of the historic monuments. Part of the renovation has included creating a new trail through Craigie Wood, opened in January 2014.
A new visitor centre and adventure playground opened in 2014.
Haddo House and Gardens lie immediately adjacent to the Country Park and share the car park. Situated within the Haddo House complex is the theatre that houses the Haddo Arts Trust and Haddo Choral Society.
Deer Statue
The park is a pleasant mix of open water, mature tree planting and grassland, some of which contains a diverse range of wildflowers. The backbone of the park is the central drive, reputed to be one Scots mile in length stretching from the back door of Haddo House to the commemorative urn at the top of the Deer Park. Much of the Deer Park is let for grazing but visitors are able to walk right round the edge of the Deer Park on mown grass.
If ground conditions are unsuitable for walking on grass there are approximately three miles of surfaced paths within the park and in these beautiful surroundings helping to maintain health and fitness with a pleasant walk should definitely not be a daunting task.
On the way down the central drive you will cross the ponds at the head of the lake and here our helpful ducks, swans and geese will check to see if you are carrying any heavy bread which is weighing you down and hindering your progress through the park. Areas of the lake edge are fenced and screened.
This is in order to provide secluded nesting locations for the lakes many and varied resident birds. Visitors are requested to avoid entering these areas.
The park is home to a wide range of wildlife including resident red squirrels, which are seen daily, especially in winter.
printed directly from an antique original glass plate: taken in 1910s by a French professional photographer Maurice Couvrat, active between 1900's - 1930's based in Poitiers for most of his career / measures 5" x 7" on vif Art (B5 H.P. surface) paper / exposed for 2hrs
Jacquard cyanotype kit (Potassium Ferricyanide & Ferric Ammonium Citrate)
Toning: Jasmine tea
Enlarger: Hansa patent enlarger in 1933 w/ Anastigmat F=125, 1:6.3
Film carrier: none
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
I really like to use metal subject in my macro-tests. Their surface usually contains a lot of scratches and marks, so shows the sharpness very well. Metal has also very good capability of reflection, so it's perfect specimen to adjust light in tests. In this case I used keys as an example.
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Cycle Lane Line Markings in Upper Broughton #Cycle #Lane #Line #Markings #Upper #Broughton t.co/OflV29wZK8
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Car Park Line Markings in Glenboig #Car #Park #Line #Markings #Glenboig
Quick-Look Hill-shaded Colour Relief Image of 2014 25cm LIDAR Composite Digital Surface Model (DSM).
Data supplied by Environment Agency under the Open Government License agreement. For details please go to: www.nationalarchives.gov.uk/doc/open-government-licence/v...
For full raster dataset go to: environment.data.gov.uk/ds/survey
Surface deformations, part of a series that is still in progress.
On display for the Origami Chile exhibition last weekend at UDLA in Santiago.
Breaking the surface of the water or getting the lens to sit half out and half in the water, thats my left foot on the left of the photo and a yacht mast in the sky.
“Errors, like straws, upon the surface flow;
He who would search for pearls, must dive below.”
― John Dryden, All for Love
DSC03895
Here's another shot from Friday. This is a member of the large pod of common dolphin we encountered on the morning trip. We had easily 150-200 of these guys surround the boat and stick with us on our journey back towards the headlands. Super engaged with the boat, lots of bow riding, playing in the wakes and plenty of porpoising. A very cool encounter!
Want to see more??? Check out my new page:
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Just Pinned to Cycle Lane Line Marking: Line Painting in South...
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Na mijn bezoek aan de Eletriciteits Fabriek ben ik even bij Nest naar binnen gegaan. Waarom? Omdat het kaartje bij de EF een combiticket met Nest was.
Bij Lokaal 3 rechtsaf, door de fietsenstalling en dan de tweede deur rechts.
Bij binnenkomst viel ik meteen op een aantal hele grote stukken aan de muur. Het leek op hier en daar gekreukeld metaal in mooie metallic kleuren. Het zijn flinke “jongens”, 100 of 150 cm breed ene 150 of 200 cm hoog.
Ik maak maar zelden foto’s van kunstwerken en ook deze keer niet van het hele werk, maar heb details gefotografeerd om een indruk te krijgen. De kunstenaar Jérôme Robbe, (1981,Parijs) neemt grote platen plexiglas met een zilveren of gouden coating. Die gaat hij met een warmtepistool bewerken zodat ze van vorm veranderen en op sommige plekken structuren ontstaan waarin je landschappen kunt zien. Vervolgens krijgen ze een vernislaag in verschillende kleuren die traag in elkaar overvloeien.
De tentoonstelling heeft de naam “Fluid Desires”. Dat is precies wat het is. Ik was er weg van. Als ik meer muur en geld zou hebben had ik er een gekocht.
Bezoek ook de website van deze kunstenaar
All images are copyrighted by Pieter Musterd. If you want to use or buy any of my photographs, contact me. It is not allowed to download them or use them on any website, blog etc. without my explicit permission.
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Just Pinned to Playground Coloured Painting: Preformed...
All Saints, Ramsholt, Suffolk
A new entry on the Suffolk Churches site: www.suffolkchurches.co.uk/ramsholt.htm
riverrun, past Eve and Adam's, from swerve of shore to bend of bay. Ours was the marsh country, and from the strand I climb to the marsh gate, and there across the wide marshes stands All Saints. Here, thousands every year see Ramsholt church for the first time, and every time is like the first time. Now, I step out across the marshes, and in my mind I am Dickens's Pip, I am Joyce's Dedalus; signatures of all things am I here to read.
A bright, freezing day in January 2017, and a perfect day for cycling out to Ramsholt church. I caught the Lowestoft-bound train to Melton, and then cycled out along the long, busy peninsula road, the traffic quietening as it peeled off to bigger, less remote places. The fields flattened out, punctuated by wind-swept pines. The lanes narrowed, zig-zagging down the sides and along the ends of pre-enclosure strips. A sea of mud and ice caked the road surface, and soon almost every trace of human habitation had disappeared. Curlews and oyster-catchers huddled miserably in the open fields as I reached the end of the long lane which leads up to Ramsholt church.
Hardly anyone lives in this parish, but it still maintains several services a month as a result of the Anglican diocese's benefice system. Although this church is just about accessible by car, most people who visit here will come on foot. This is because, just beyond the lane that leads to the church, another lane leads down to the pub on the quayside, the Ramsholt Arms.
Today, this pub is one of the busiest in Suffolk. It hasn't always been so; When I moved to Suffolk thirty years ago you could come here on a sunny day and enjoy the silence of the shoreline as you sat behind your pint of Adnams. It was considered by those who knew of it one of the best kept secrets in the county. A peaceful, laid-back pub overlooking the wide river - what more could you want? The food was superb, and you could be assured of the friendliest of welcomes.
And then came the 1990s, and Suffolk was 'discovered'. It is hard to remember now just how unfashionable it had been before. As recently as 1986, Michael Palin could make a comedy film, East of Ipswich, about going on holiday with his parents in the years after the War to Southwold. Southwold! How absurd! Who would ever want to visit such a backwater, let alone go on holiday there!
Nowadays, it is hard to pick up a colour supplement without finding an article about some actor, or designer, or investment banker who has a holiday cottage near the mouth of the Deben or the Blyth. Foodie articles focus on Suffolk produce and Suffolk restaurants. House prices have rocketed; it simply isn't possible for young locals to live here any more. A beach hut recently exchanged hands in Southwold for about the same as my house in the middle of Ipswich is worth.
And places like Ramsholt are becoming overwhelmed. From being a quiet haven where you took your mum for lunch when she visited, the Ramsholt Arms has become a tourist pub, its large garden full on a summer's afternoon with yachting types up from London for the weekend. Does this sound snobbish? I'm sorry. But you might as well be in Southwold or Aldeburgh. I am seeing my lovely Suffolk destroyed, and it seriously pisses me off.
A large field has been converted to a tourist car park about half a mile before you reach the pub. You walk down onto the strand; although we are a good three miles from the sea, the beach is sandy, and children dig holes and build castles. The lazy river is shallow and slow, if a touch muddy, and paddling is certainly safer than it would be a couple of miles downstream at Bawdsey. The tide is very dramatic; at the turn, it retreats a hundred yards out in less than twenty minutes, leaving a vast expanse of shiny mudflats, an aerodrome for the seagulls.
You wander along the strand upstream,, taking care not to step on the samphire that grows there - I'll be along in the spring to harvest some of it, and I don't want it all trampled, thank you very much. You step up onto the level above, and through a gate onto the bridleway through the marshes. And you see the church for the first time.
From across the reeds, it rises dramatically above you. The round tower appears square at this distance, but as you come closer it begins to look oval, an illusion caused by the buttressing. A similar illusion occurs at Beyton, Suffolk's other buttressed round tower.
The bridleway winds leisurely across the flat marsh. But it is best to keep to it; deep channels snake among the reeds and gorse, and only the brown cattle that somehow find something to graze here seem sure of not falling into them.
If you have come here in spring, you are in for an absolute delight when you pass through the gate on the far side of the marsh. Here, a sunken lane winds up to the church. Until fifty or so years ago, these were so common, but most were either turned into roads, or allowed to return to nature. This one is lined by high banks, six feet or more, and they are a riot in spring of wild flowers and grasses. Poppies spangle them into the distance.
The lane climbs, and suddenly you reach the churchyard. It is about eight feet above you, and you can either continue up to the field and around to the north east, or there is a little stairway cut in the bank of the sunken lane. This takes you up into the graveyard itself.
It would be silly to call this a lonely place, because it has thousands of visitors every year, and unless you come in deepest winter as I did, you cannot be here for long without someone else turning up. But it is lonely in the sense that it is virtually all there is under the sky, apart from an impossibly pretty thatched farmhouse down in the dip beneath the church. The river stretches beyond the marshes (you can just make out the spire of Felixstowe St John on the horizon, some six miles away) and the air is empty except for plaintive bird cries and the wind in the reeds. On a hot, still day, even these are silenced, and you'll swear you can hear the distant clink of boat masts in the river, half a mile off.
This is an ancient place. There was a church here a thousand years ago, and perhaps the base of the tower survives from that time. The church is broadly Norman; the later medieval windows can't disguise this. North and south are strange sets of dumpy lancets, which could date from any time, I suppose. They allow you to see how thick the walls are.
However ancient All Saints is, the strongest resonances here are of the 18th century. This seems to be the last time the Parish was populated to any extent, and there are some superb 18th century headstones set in the wild grasses, including one with a sexton's tools. My four favourites are in a line, to the Waller family. The Wallers can still be found locally; they owned the living at nearby Waldringfield and presented their sons to the living. The last Waller rector of Waldringfield died in harness as recently as 2013. The location and pre-Tractarian character of the graveyard and church meant it provided a perfect setting for a recent BBC adaptation of Charles Dickens's Great Expectations (although the book is actually set in the north Kent marshes, of course).
Curiously, there are hardly any stones to the north of the church. This may be used as evidence for the myth that people are never buried on the north side of churches (in practice, they are - take a look at a few churchyards!) but I think it is simply that people here have chosen to be buried looking over the river - well, you would, wouldn't you.
As you step through the 19th century porch (the frontage is most unusual; bricks lining unknapped flintwork, like a seaside cottage) and into the open church (it is always open) you might be forgiven for thinking that the interior is also an 18th century survival. There are simple wooden box pews, a brick floor, a two-decker pulpit rising on the south side. It is all just about perfect.
In fact, all of this is the result of a restoration of the 1850s. In the first half of the 19th century, Ramsholt church was derelict; unused and unloved. The nave was open to the sky; the walls were 'green with damp'. It seems extraordinary that a church would be furnished in the prayerbook fashion at such a late date, although it probably reflects the predilections, and memories, of elderly churchwardens. Ramsholt is such a backwater that this was still thought to be the proper manner of furnishing a church. As you walk up to the altar, you'll notice that the seats face west, towards the pulpit, rather than east, towards the altar, a reminder that for 300 years it was the Word that was the focus of Anglican worship, not the Sacrament.
There's a nice late medieval font, which seems rather out of place here; you feel that a chunky Norman font, or one of those 18th century bird baths as at neighbouring Bawdsey, would be more appropriate. The simple Norman doorway into the tower seems to call out for the former. If you look through the cracks in the door, you'll see that the base of the tower has been furnished as a vestry.
The damp of the estuary inevitably creeps into this building still, but that is part of its charm. On a summer's day it is cooler inside than out, as if the church were holding on to the grip of winter. On a winter's day the church becomes a sanctuary, but in all seasons a serious house on serious earth... the ghostly silt not yet dispersed. There is something organic about this great oatmeal tower, and the way it and the sandy bluff merge into the reeds and pines above the Deben estuary, at one with its setting, its parish and its long generations.
And that is all there is to Ramsholt now. The pub, a farmhouse and the church, each about half a mile apart. And the marshes, and the water, and the wide Suffolk sky.
ID: 003496
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: 04/2015
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Published: 09/2015
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