Last weekend saw us exhibiting at “The Art Market” at York racecourse and what an impressive building it is! Whilst we exhibit in quite a few good quality art markets such as Crafted By Hand at Masham and Art in the Pen at Skipton, we entered this one with quite a bit of trepidation. To put it into a sporting context, for us this was like stepping up from the local league to the national circuit, with a price ticket to match!
We had the obvious worries of would our work be accepted? Was our presentation good enough, or would we be out of our depth in this company? Doing fairs like Crafted by Hand have taught us that whilst the quality of our product is good enough, our stand presentation leaves a little to be desired, so we worked hard to up our game a little for this one. Always conscious of “KISS” keep it simple stupid, we made an effort not to over stuff our stand and make it look cluttered.
Setting up day on the Thursday was pretty fraught as it was blowing a gale outside and every time someone opened the outside door, our booth got blown further into the room, a total nightmare when trying to hang pictures level!
Helaina Sharpley’s stand
Come the Friday morning we got a chance to have a look around at the other exhibitor’s stands and I have to say I was mightily impressed with the standard of the art works on show. Classy without lapsing too far into the sort of conceptual art the average philistine in street like me couldn’t understand. We were particularly impressed with the sculpture of David Mayne and Jim Bond and loved the quirky work by Helaina Sharpley and Samantha Bryan.
As Friday and Saturday progressed it became clear that a lot of the audience were artists and art students who seemed mainly to relate to the more conceptual exhibits, but fortunately someone let in the general public and some gallery owners on Sunday and not only was there a great buzz about the place there was finally some serious interest in the art works around us and much more work being purchased.
David Mayne’s stand
Were we out of our depth? Well our work certainly seemed cause enough interest and getting favourable comments from an internationally recognised artist like Jim Bond certainly made our weekend, but our stand presentation still left a lot to be desired. Would we do it again? Well we enjoyed the camaraderie with the other exhibitors and we’ve definitely learned a lot from the experience so we’d certainly consider doing it again next year.
And the band played on…………..
The art fairs we do have taken us to some interesting venues over the years, such as Skipton auction mart, but for sheer atmosphere Staithes Festival takes some beating. Taking place in the picturesque fishing village of Staithes, some 120 artists set up over 90 pop up galleries using the rental cottages throughout the village, ready for thousands of visitors to descend on the village over the weekend to view the variety of art work on offer and soak up the atmosphere.
Staithes village from Penny Nab
Anyone thinking of visiting next year, be warned! Set aside a full day and wear some comfortable walking shoes. It’s a hard day, but there’s plenty of cafes and pop up street food stands to keep everyone fed and watered as well as a couple of good pubs and several restaurants. Along with live music and public art works there’s something to keep everyone entertained.
The atmosphere is great and the whole village really comes alive on the Saturday evening, with light shows on the beach and sea chanties being belted out on the staithe. Make a note in your diary for next year’s festival, it’s a great weekend and you might just find that piece of art you didn’t know you were looking for………
Last Friday afternoon saw us heading for Whitby to deliver some stock to the Art Café. It was a lovely evening, so after a walk along the cliff top, we treated ourselves to a bar meal sat out in the sun in the beer garden at the Hart in Sandsend.
The sun sets just behind Kettleness Point in August and I had a couple of locations I wanted to try in mind, so we decided to stay and see what the sunset had to offer this evening. I had a different angle on the beach huts I wanted to try in low evening light, but sea spray from the high tide meant the shot wasn’t going to work that evening, so I headed for the pier instead. As I sat waiting for the sun to set, a heavy bank of cloud gathered over Kettleness Point, so my chances of getting a good sunset were rapidly diminishing. However, conscious that it never pays to leave a sunset location too soon, I decided to hang on and see what developed. As sunset approached it became clear that the sky over Kettleness wasn’t going to play ball, but I could see that the sky behind me was showing a faint hint of pink. It’s well worth remembering to keep an eye on the sky behind you, as you never know what might be happening.
As the pink in the sky over the abbey strengthened, I decided it was time to shift my attention to that direction, so I gathered my gear and relocated to the end of the pier. I set up my tripod and camera and was just reaching into my bag to get my filter pouch when someone tried to squeeze past me. As I leaned forward to give them some room I caught my filter pouch on the lid of my bag and watched in horror as the pouch flew out of my hand towards the sea! Seeing 9 filters at roughly £80 each head for the sea below didn’t bear thinking about! Luckily the pouch hit the railings and landed on the woodwork, so all was well. I even managed to get the shot too.
I know I’ve written about this before, but it’s one thing having an idea about what you want to shoot, but it’s important to bring an open mind and work with the conditions you are presented with. It’s also a good idea to hang on until at least 15 – 30 minutes after the sun has set, as you never know how the afterglow might develop and you really don’t want to see a great sunset in your rear view mirror as you drive home do you?!
I’ve just read an interesting article in “On Landscape” magazine by Richard Childs, where he is encouraging people to get to know the controls of their camera and it reminded me of a fascinating interlude I had at Staithes festival last year. We’d been exhibiting our images in one of the cottages throughout the day, then later that evening after dark, I ventured down to the harbour to shoot some of the evening activities. I set my camera on the tripod and started taking images, after each frame I would review the histogram and adjust the exposure compensation accordingly. After a few minutes I sensed I was being watched and it turned out that indeed I was! A gentleman was standing behind me fascinated that I was able to make all these various adjustments to my camera in the dark without the use of a head torch. I explained to him that I was so familiar with my camera, I knew where the buttons were, so I didn’t need to be able to see them to operate the camera.
Thinking about this later, I realised what a big advantage this is when trying to compose an image. My mind can be fully focussed on the image making process because operating the camera requires so little conscious input. I have a work flow, developed over many years of practice which means my process of image making is repeatable.
I also realised when I thought about it further, that I’ve stuck to very similar cameras over the last 20 years, so very little has changed for me. I bought my first Nikon camera, an F801 in 1994, before finally going digital with a D70 in 2004. This has been followed by a D200, a D700 and now a D800, all of which follow a very similar layout, so I haven’t had to learn anything radically different over the years.
Admittedly, the images I was shooting that evening were only record shots, but you get the idea just how useful being fully in control of your equipment can be. It frees the mind to concentrate on the image making process, so the next time I’m on a beach an hour before dawn, I know that I can happily work in the dark knowing that operating the camera is the least of my problems.
It’s the same with us at the start of each year. “Where shall we go this year?” “Where can we go that’s different?” We’d been to Harris a few times and fancied a change, though we normally don’t go to Scotland in the summer to avoid the dreaded midges, but we fancied trying North Uist in summer to see the machair. We found a cottage to rent and set off with a little trepidation in our minds. Despite our love of simple images, this was going to be a very sparse landscape and it was going to test our abilities to do it justice.
Machair at Balranald
We travelled north over a couple of days and arrived on North Uist in glorious sunshine, but it wasn’t to last. Our cottage was on the edge of the Balranald nature reserve, a place renown for it’s machair, but on exploring that evening, it proved that we had arrived a little too early for the machair to be at it’s height. The swathes of buttercups were beautiful, but the poor weather in June meant the clovers and orchids were yet to reach their peak.
Sunset at Traigh nam Faoghailean
More bad weather meant we were confined to a bit of recceing the south of the island over the next couple of days, but no sign of machair in the south, then on the Wednesday we ventured north and bingo, loads of machair at Malacleit and Traigh Ear. Not only machair, but sparse bays that were just crying out to be shot as minimal monochrome images. Suddenly we were in our element and inspired, but time was running out and the weather was limiting our opportunities, before we had to leave the island on Friday to travel to Harris prior to leaving for home.
However, we’ve found a cottage overlooking a bay that holds huge potential for us to do our thing and large areas of machair close by, so we don’t think it won’t be too long before we head back to North Uist once again.
Gearraidh Iain cottage at Ceann a Bhaigh
I’m very conscious that I’ve ignored the blog for far too long again, but I had hoped I’d be writing an extended piece about my experiences on St. Kilda at this point, in fact I’ve even started two articles, but the weather has beaten me one again.
Loch Alsh from a viewpoint near Kyle town
I had also planned to write a piece about shooting the machair on Uist, but something remarkable happened while we were there.
Black house at Carinish
I’ve read several articles by much respected photographers like Bruce Percy and David Ward about “connecting” with the landscape and I’ve always been aware of this, but despite the weather we experienced on Uist, we’re both surprised just how much we connected with this unique landscape. We went with quite a lot of pre-conceptions about what we would shoot and how we would do it, but we’ve come away with some totally different feelings. Despite our love for simple, almost minimal images, we felt we were up against it with the sparse landscape of Uist, but as it turned out, we really connected with this empty landscape. We both feel we could do so much more with it photographically now we’ve been and seen and had time to absorb it. Some islands we’ve visited such as Arran, we just didn’t “get”, but Uist works for us, so even though the weather wasn’t kind to us this trip, we really fancy going back and trying some of these ideas we both have swimming around in our heads.