This commission has made me reconsider why I almost stopped outdoor work around three years ago. It has also reminded me that it is easy to take the lot we have for granted, and that my day job is a pretty good one. And at 7.30am on the beach at Bamburgh, I considered that the miles of deserted apricot coloured sands ahead of me were a pretty cool office, and that I was actualy getting paid to walk along it with my tripod slung over my shoulder! Although maybe it was just the euphoria of actually being paid for landscape work?

Apart from the joy of 4.30am alarm calls, I have been reminded that the part of the photographic process I really enjoy is the moment at which the elements and nature take dramatic control of whatever vista is in front of me. This is normally the point when a sunrise becomes dramatic, a shaft of sunlight bursts through a cloud, or a sequence of waves break perfectly.

Bamburgh Castle, Northumberland Coast

I have also realised that nature does the hard bit, and the act of making the picture is a thoughtless one, merely a way of grabbing that moment; yes the picture may be considered, but it is still just a record of what I saw, and this throws up a host of questions. So how is it possible to then claim that the photo tells the viewer something about a place? Does for example, a “beautiful” colour photograph tell you anything more about a place than a simple cheap snapshot of the same location? Can it? In my mind this does not devalue the perfectly composed and printed image, but perhaps its dubious claims to “show” (or more pretentiously to “teach”) should be challenged?

Yes, the photographer has made the picture in a certain light, from a certain angle, and at a particular time, and those choices make the picture “easier” on the eye, more “beautiful”, but again surely it is merely a record? I once heard someone claim that their pictures showed the “spirit” of a place, but that was just a vain attempt to try and add weight to pretty landscape pictures, by claiming something that does not exist.

To me the thrill is in being there, feeling the bite of the wind on your face, being engulfed in the sound of the breaking waves and the seabirds. The euphoria we all feel when being in the natural environment or seeing something of natural beauty (maybe a sunset or a wild animal at close quarters) rarely translates into our pictures. How often have we been disappointed by holiday photos that don’t do justice to our memories; and how often have we said or heard things like “well it looked much better than that” or “I wish I had a better picture of it.” Once we are not physically experiencing the environment and that pleasure is removed, we look at things differently.

Perhaps I find it hard to engage with my landscape pictures because I know what it felt like to be there when the photograph was made, and then have had to deal with the change in emotions when I am faced with a two dimensional representation of that experience. I rarely enjoy my pictures after I have made them, unless they have intriguing subject matter, and editing a days shot can feel disappointing, as the pictures on my screen are never quite what I remembered.

The River Breamish in the Ingram Valley

When people view a picture of a landscape I have heard them say that they have “never seen it” looking like that, but that’s perhaps just because they haven’t seen it at 5am, or in the dramatic fleeting light than can exist at that time. Worse is that they may not have seen it through the high saturation/contrast filters that we routinely apply, and they never see it burned and dodged, with unsightly features cropped or even cloned out, fully sanitised and packed for consumption.

Perhaps the landscape is just a fictional notion, always viewed in the past tense, through rose tinted glasses that remind us of a collective history. It has to be clean and neat, it has to be non-threatening and calm, as anything else is dangerous and harmful, outside of our control. My weather pictures used to get “it’s lovely to see, but I wouldn’t want to have been there”, or “ooh it looks so cold….brrrr”. One only has to look at how anything “wild” is quickly removed from our towns and cities to see how important controlling and regulating nature and landscape has become. Our lives are all about limits and controls, often state sanctioned, so maybe the rose tinted ideal is required to remind us that something better did once exist, albeit fleeting.

Maybe I just have a problem with the way that colour dominates certain pictures, and how often pictures are considered of value just because of a certain colour.  Take away the dominant colour in many images and little remains of any interest. Saying that, black and white images are often seen as passé or nostalgic, but at least that may remove the “pretty picture” tag that I struggle with. After all what makes a strong image should be the content, even though at times colour may be part of that.

To illustrate my point try blocking out the bright red at the bottom of this picture with your hand. Thankfully the strength of the ladies contemptuous stare is as bold as the colour.

Prague, Czech Republic - Canon EOS1N - Kodak EBX

As I was writing this post I came across a very relevant piece by David Parker http://www.davidparkerphotographer.com/ relating to beauty in art, which highlights some of my own personal struggles with pretty pictures.

“Beauty has been described recently by the English sculptor Grayson Perry as ‘the elephant in the room that many artists find difficult to ignore’. Beauty requires no commentary for its appreciation and no validation by a priesthood of academics…”

Parker goes on to say that “many artists remain deeply suspicious of beauty and ignore it altogether, and for fear of being misunderstood are eager to have the subtext of their ‘difficult’ work explicated rather than risk it being judged only at face value”.

So maybe I am just suspicious of the beauty within my landscape work, and soured by encounters with curators and “experts” who have described my landscape portfolio as “of no value”, “not relevant to anything related to art ”, and that old chestnut “not critically engaged”.

But bills have to be paid, even though every time I go out the door to work these questions go with me, and that proverbial elephant keeps nagging at me…..that is until the elements take over.

Happy New Year.

The last pretty picture of 2011 - I promise. Druridge Bay, Northumberland.

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It is rare to hear a great photographer, talking about their contact sheets and work in such an illuminating manner. For more information on Klein visit http://www.masters-of-photography.com/K/klein/klein.html

Here are two thought provoking qoutes from the man….

“Be yourself. I much prefer seeing something, even it is clumsy, that doesn’t look like somebody else’s work.” William Klein

“I used the wide-angle lens as a normal lens. I had no philosophy about it. When I looked in the viewfinder and realized I could see all the contradictions and confusion that was there with the wide-angle — that was what was great… I’d had a Rolleiflex with different lenses, I wouldn’t have cropped that much. I had no compunction about cropping, because I did my own layouts…[And] I’d use anything in printing. Throw cyanide, white out over things. I approached photography a little bit like a painter would play with a lithograph, fooling around, pouring milk, tea, anything on it. It was the sort of thing that anybody with any sort of strict, classic photographic training would have qualms about. But I had no qualms at all about doing things with photography. First of all, I had no knowledge of it, and I couldn’t care less, because I thought the whole photographic world was alien.” William Klein (via Lens Culture)

Any type of “landscape” work in the summer can be challenging as the quality of light is often poor, and depending on the weather, the “golden hour” can be reduced to the “golden five minutes if you’re lucky”.

This summer I have been revisiting Hadrian’s Wall http://en.wikipedia.org/wiki/Hadrian%27s_Wall to try and make something different for stock libraries. Most of my pictures of the iconic Wall have been made in the winter months, when the sun is lower and more predictable.

For a few months in the summer the sun sets north-west of the wall, making for a much more challenging set of conditions and vistas, often dissected with harsh shadow. To complicate matters the north facing side of wall is not accessible in many places, so coming away with useful pictures is much harder than in the winter, when so much is laid out on a plate for the photographer.

An important part of outdoor photography is careful planning, researching the location, understanding the position and movement of the sun, and watching the weather forecast. Sadly the date for this shoot had to be fixed well in advance, and if the choice had been my own I would have not left the house that day.

The forecast was terrible and the rain fell in torrents for seven frustrating hours, only briefly interspersed with flat grey skies and a chill wind…..ah the joys of early summer on Hadrian’s Wall. We must have looked quite a sight, just standing in the middle of nowhere in the driving rain, water logged and dripping. But at least the midgies were drowning!

I had hoped for a shooting window of around two hours to make 20 or so pictures for the magazine piece, covering various locations over a one mile stretch of the Wall; instead I had around ten minutes total working time, with sodden kit and a nice fine drizzle. Outdoor work should be considered and calm, and not carried out at running pace with a journalist trailing behind with his umbrella! It could be argued that all shoots will not go to plan, and this IS the reality of outdoor photography, but ultimately I had quality pictures to produce for a client whatever the weather, and they had to be done that day.

With hindsight at least I got to know the location better, and made some (moist) notes for future visits, and I also know that my coat pockets will fill with water after a while standing in heavy rain. More seriously I received a reminder that for some commercial jobs the pictures have to be a compromise. When time is a constraint, every picture that comes out the camera may not be amazing, but has to be the very best that can be made at that time, taking into account all of the circumstances.

Only rarely on commercial jobs will the expectations that you have in your mind be exceeded, and you must be prepared for even the best laid plans to fall apart. That is part of the challenge and the constant learning curve, and you learn more from adversity and from having to draw on all your skills to complete the job.

Balancing commercial work with personal projects is never easy, and the two strands are often difficult for a photographer to reconcile, but the bills have to be paid.

“Shooting Hadrian’s Wall” features in Augusts’ edition of Practical Photography Magazine. http://www.photoanswers.co.uk/

For my February 2011 guest editorial in PP (relating to HDR and photoshopping) please visit http://www.rogercoulam.com/blog/2011/01/hdr-photoshopping/

As with any quality book, the very best photobooks are beautiful, tactile, and precious things, which seem to make their readers treat them with respect when they pick them up. To a photographer they can be inspiring and frustrating in equal doses; sources for ideas and for understanding, but they are often (expensive) objects of desire.

This week brought an interesting symposium on Photography Publishing and the Future of Photobooks, organised by the North East Photography Network, and held in Newcastle upon Tyne.

Many of the problems surrounding and facing modern photographers in producing photobooks were raised through a series of talks by various lecturers, practitioners, and curators; and I would like to pick out a few of their observations and add some of my own.

John Kippin http://johnkippin.com/ pointed out how a photographer’s career is judged by their success within the Galleries, and through exhibitions. This system is very exclusive, subjective, and normally operates within certain social and economic contexts; and galleries only show work by a certain type of photographer. There is a strong arguement that they are “excluding” to most practitioners, and also to large sectors of the population, and that they only represent a couple of styles of photography.

Marc Feustel is an independent curator and writer, and specialist on Japanese Photography. He runs the excellent Eye Curious Blog http://www.eyecurious.com/ He pointed out how important photobooks and photobook publishers are in changing photographic history, and observed that we view photographers differently as a result of their books, viewed through the lens of time. Having the time to sit and engage with a photographers work in book form can be a very personal way of learning about their work and their outlooks. It is much easier to look at their pictures in the comfort of your own home or in a library, than it is in the alien and sanitised environment of the Gallery space.

Bridget Croaker (Picture Editor for the Guardian and Observer newspapers and Director of Photography for http://www.troikaeditions.co.uk/) pointed out that photography suffers because it is “not a homogenous whole,” and because of its ubiquity, and its ease of creation. She also thought this was compounded because photojournalists are now seeking the gallery wall, and as a result are blurring the boundaries of what is considered “art”, and also what is considered good or bad. Because of this she felt it was important that photographers understand what type of work they are producing, and the context of that work, and sees this as more important that being exhibited or publishing a book.

In todays market less and less photography is commissioned, book publishing offers are very rare, and are largely reserved to celebrity or “name” photographers. As a result of this some artists and photographers have turned to what is known as “crowd funding” to try and raise the funds for their projects directly from online audiences. http://www.bjp-online.com/british-journal-of-photography/feature/1936101/crowd-funding-little-help-friends

A fascinating example of this was given by Dutch documentary photographer Rob Hornstra http://www.robhornstra.nl/ who started the fascinating and ambitious Sochi Project in 2009 with the help of online donations. http://www.thesochiproject.org/home/?en His books have also been crowd funded.

Rob also detailed how expensive and difficult it can be for photographers wanting to produce quality photobooks, and also how small an audience there is for them. The importance he places on every minute detail in his own highly acclaimed and collectable photobooks was very evident, and this approach is common in those at the top of their fields. He also stressed the importance of a photobook telling a story, starting with the cover and continuing with every page. It was refreshing to hear him talk about how the narrative and his story telling was the important thing in any book, and not the self aggrandisement of the photographer.

Bruno Ceshel gave an interesting talk. He is the founder of Self Publish, Be Happy http://selfpublishbehappy.com/ (Warning Adult Content) which was established with the aim of “celebrating, studying and promoting self-published photo books through events…, publications and online exposure”. Bruno sees little difference between “artist’s books” and “self published books”, and said the only difference may be that the numbers produced for the latter is larger.

I have been watching the rise and success of Self Publish, Be Happy for some time now, as I have been working on a project of my own for which I see the natural output as a book. They have some superb books for sale.

Something that was stressed by several of the speakers was the ease with which photographers can now produce their own photobooks, something that is exemplified at Self Publish, Be Happy. The expansion and disposable nature of digital and home printing has meant that small run books are appearing everywhere, as thousands of people decide their work should be seen in book form. This ease of publishing is supported by platforms such as Blurb which offers a print on demand service. Books are often now not seen as precious objects, and are printed in zine form, on newsprint, or even as simply stapled photocopies.

Many of these books seem to follow very similar themes, with young photographers exploring personal situations. This exploration in itself can be important and relevant, but much of the work seems very self absorbed. There also seems to be a glut of naked teenagers running around in the landscape and doing the things young adults do, often in the style of Ryan McGinley http://ryanmcginley.com/ – they are everywhere. Many other books feature derelict houses, found objects, and “Dusseldorf” type pictures of the mundane. Maybe there is nothing wrong with this, but are they stopping to consider how many of them are doing exactly the same, and are then releasing them as photobooks? I question whether this is correct in a market that is hugely overloaded with photographers, and backed by a photographic “educational” system that keeps spitting thousands more out every year, seemingly often making the same type of work. And if we go back to the words of Bridget Croaker who felt that photography suffers “because of its ubiquity” and “its ease of creation” this becomes more worrying.

Many aspects of commercial photography including stock, editorial, and photo journalism, are being eroded by this very same ubiquity, and the fact that everyone is now a photographer, or a citizen journalist. So surely there is an inherent danger with the overwhelming amount of photobooks that are out there.

The market for photographs is massive, and it increases all the time, but there are too many pictures in the system, often given away for free. As a result of this the overall standard and peoples understanding over what is good has been lowered. So in some ways, the glut of small photobooks reflects this trend. But what’s problematic is that the market for photobooks is a very small one, so for the vast majority a market does not exist. Unless a photographers name and reputation is already well known, and the content is relevant to a lot of people, then this work is unlikely to sell.

I am not against the freedom of artistic expression that self published photobooks can bring, and indeed in odd cases this can lead to critical and commercial success. I have been lucky enough to see some incredible hand crafted artist’s books over the last year, unique pieces of art in their own right, and they can be an important part of a makers craft and practice. In fact I also aspire to seeing my work in print, so if anyone would like to send me a cheque for around £15000 that would be a big help and might get me started. But I would always question whether that book was the legacy that I wanted to leave to the world, and whether it contributed anything to the rich history of photobooks that already exists. But perhaps that is not important?