Every step you take, every move you make

I hope the length of this piece doesn't imply it is anything more than it is. In the same way that language enables thinking, for me, writing enables me to organise my thoughts. I’ve just been having a bit of a think, nothing more. Two major outcomes have emerged in the past 20 years for Landscape Photography, largely I would suggest, as a direct result of the emergence of the internet, the growth of Social Media and the advent of Digital Photography.

• There has been a dramatic increase in the number of people enjoying the process of making Landscape (as opposed to holiday) Images.

• It has become substantially easier to discover locations in which such images can be made.

(I think that a third outcome probably exists which is to do with the speed of growth and coherence of ‘fashions’ in Landscape Photography. This aspect will form the subject of a future set of musings.)There are many outcomes from these changes not least of which (in my opinion) a positive development in the art of landscape photography. However one unarguable change is a dramatic increase in the number of people making landscape photographs and their tendency to be drawn to a number of iconic sites. Whether this is good or bad for photography is the subject of yet another future article. What is inescapable is that they are causing damage to those very beautiful locations. In many ways such Photographers are no different from the millions of tourists who are loving the world’s beautiful places to death. This damage falls into three categories:

• Accidental - resulting simply from erosion damage that exceeds the speed of recovery of the local ground.

• Careless - Accidental damage beyond merely footfall. Damage to soil structures or scratches to delicate rock structures caused by tripod spikes. Stream banks are frequently damaged by careless access to the water.

• Wilful - Photographers breaking off branches, pulling up saplings that impede their view.

Stuart Low wrote a very depressing piece about the new Massacre of Glencoe here.http://www.stuartlowphotography.co.uk/photographers-massacre-of-glencoe/Stuart lays the blame for a great deal of damage at the feet of photographers and while we as a community are not blameless, I do feel that the presence of fires, bottles and cans hints at the increasing taste in some parts of society for ‘pop up parties’. We see the evidence for theses all across our wild areas, the pattern is almost always the same. A relatively secluded area, fires are lit, wood both collected and sawn off purposefully off living trees, trees cut down, wilful damage to the local environment, alcohol containers, abandoned folding chairs and tents. I think these are nihilistic party goers rather than photographers. If we view a specific site such as the waterfall view of Buachaille Etive Mor from the Coupall, we can consider the likely narrative for the consequences.

• It is ‘possible’ that the fashion for landscape photography has peaked and the issues may largely rectify themselves. Sales of cameras are certainly diminishing, though this may however be far from a guide to the numbers of people visiting iconic locations.

• If no effective actions are developed, the damage will increase both in depth and spread. We know that as access is limited by difficulty, the line of approach will deviate to the next easiest route and spreading the problem further.

• Our erosion may serve to permanently disfigure the very subject of our visits.

• The land owners will feel moved to take some sort of action whether driven by fear of litigation (resulting from slip or fall injuries) or genuine care for the local environment.

• Local councils may seek to limit the possibility of any suitable local parking. In my experience, many people will not walk for more than 10 minutes.

What then are the most likely outcomes? The least expensive is of course allowing the local site to become irrevocably damaged. In some locations I would suggest that the landowners are likely to amend access by the use of purpose built path or walkways. For a site such as the Coupall, my instinct is that this would eventually lead to a stable viewing platform with ‘sturdy guard rails’ all around and appropriate warning signs about proceeding beyond. Access to Blea Tarn has already been upgraded to allow a route for those with limited mobility, I suspect it is only a matter of time before a path is created down to the water’s edge. I have heard many an established photographer complaining about numbers and seemingly suggesting that newer entrants to the field should have to find alternative locations. This is a selfish view in my opinion and has all the hallmarks of pulling the ladder up after us.  Such a view should certainly never be espoused by anyone who has an image from these locations in their back catalogue.Given that appealing to the better nature of the general public is likely to have little effect what other steps might be taken to attempt to limit or even reverse this damage?

• There is never any harm in appealing and hoping, such a process works to some extent in respect to climbing and environmental; damage/ protection of nesting birds etc. I’m not sure how effectively it works but anything is better than nothing.

• As a community we could draw up a set of voluntary guidelines to educate individual photographers with regard to the damage they are causing. We could circulate this and hope. Individual photographers could publicly sign up to such a code.

• We could attempt to create a voluntary code of practice or standard for organized groups and those who bring groups to such places.

• We might appeal for those providing workshops both to follow such a code and also to ensure that environmental impact be an element of their syllabus.

• As a community, we might seek to raise the profile of such places with landowners and look for ways to encourage them to to improve access. The most effective way of encouraging is usually financial but there may be other quid pro quo alternatives.

There are considerations to do with the sharing or attempted concealment of locations. I think there’s a real conflict here for many photographers but for different reasons. The selfish or perhaps reasonably protectionist ones seek to protect their business by trying the limit the supply of images from a particular location. Although I don’t fit in this category I do have substantial sympathy for someone who has found a genuinely un-photographed location after hours of research, map study and hard miles. They may not feel like simply giving this away. There are others, of which I am one, who struggle to reconcile the fact that we find quiet or unspoiled places and then contribute to their destruction by publicising them. Once upon a time you might photograph, print and exhibit without having any effect on visitor numbers. Today a single image, widely shared can lead to a devastating effect.One a quick and unsophisticated Twitter poll this week encouraged 88 people  to respond either via the poll or directly. The question asked ‘ Do you share location details from your photographs?The results were as below when additional answers were included.Freely 69%No, I made the effort (others can do the same) 10%No (Due to) protecting my business 5%No to (reduce footfall) and protect (local environment) from damage 16% A number of qualifications were added, these being:Sharing locations with friends but not the general publicSharing rough area but not precise detailsThere was a substantial view that as the photographer had made a significant investment of time and effort, there were not just going to give it away freely.This was a very ‘Raw’ poll and made no attempt to differentiate between those making a living from Landscape Photography and hobbyists brand new to the activity. It does present a very positive view in terms of generosity and also perhaps serves to explain why the dissemination of location information is so widespread. I would suggest that the following conclusions may be drawn overall.

• As people who photograph the Landscape, we ourselves are the cause of the majority of the problems. There is no honesty in pointing the finger of blame at any sub groups.

• As our numbers are comparatively small and usage intense our damage is not addressed in the same way as, for instance, Lakeland footpaths where there are both government funded and charity funded organisations working tirelessly to repair erosion damage.

• The solutions to wilful and careless damage may come partly from education and codes of conduct at group and individual level.

• The solution to damage resulting simply from footfall is likely to be complex. It will probably entail a blend both of on site footpath creation and an integrated parking plan. As we have seen at the Fairy Pools, building car parks isn’t enough unless it is accompanied by a strategy to limit reckless parking on nearby verges.

I’m not sure what else can be done apart from sitting back and watching the destruction of the very thing we love. If people have comments, please feel add via Facebook.(And, yes...that is my image at the to made in 2012 so I've done my bit to ruin this beautiful place. )

Icons

Landscape Photographic icons - should we follow the tracks or should we avoid them?The first and most pertinent answer in my opinion is that we ought first remove the use of the word 'should'. The photographic 'written word, whether it be books, blogs, forum posts, is far too full of advice telling us what we 'should' or 'shouldn't' do.Landscape photography is, for so many people, an escape. An escape from cities, from jobs, from stress, from illness or other life factors. It can also be an escape from 'shoulds'. When photographers are in the wild, providing they are not causing damage, they can be free of any pressure to conform. Any adherence rules can be chosen not enforced. I have often expressed the view that the development of photographic skills can be likened to learning a musical instrument. An understanding of the basic principles is needed, the level of practice is often reflected in proficiency and the learning of test pieces often forms a precursor to personal composition. The performance of the test piece does two things, it first (and foremost) brings the player pleasure and secondly it forms the structure for the acquisition of skills. There is no suggestion that they are immediately adding a new gem to the cornucopia of world music. There will always be those artists who somehow manage to shortcut stages and emerge 'fully formed' but for the majority, let them make their own versions of iconic images. A significant subset of the criticism I see levelled on those who 'dare' to set up their tripods at the Buachaille, or Blea Tarn or Crow Park in Keswick, comes from well known and established photographers. When I read such criticism, I tend to visit Google and their websites and so often find their own early images of the 'standards'. Much of what is written might be better if worded to avoid telling beginners what they should do and adjusted to emphasise that their enjoyment of what they are doing is key.With this post is an iconic image, the famous shed and bicycle in Glen Etive, it features somewhere in many a fine photographer's back or current catalogue. I've never been moved to photograph it before but on learning of the partial collapse of the structure, it suddenly became something of which I wanted to have my own record. The picture was a quick snap on the phone in the pouring rain. I suspect there won't by much still standing when I next return. I won't be sharing it as an example of creativity, mastery or even record. I am however pleased to have an image to call my own.One or two readers have asked about comments. I'm struggling to both allow comments and yet filter the colossal amount of spam that was arriving. If I can solve it in a manageable way, I'll reinstate comments. In the meantime, please feel free to provide counter arguments via Facebook or Twitter.

New Year Resolutions #1

I tend not to wait for New Year to make resolutions but the period of calm between Christmas and the end of the year provides a perfect opportunity to reflect and make decisions. Some of those decisions are appropriate to share, others not. This one is public. I've decided to keep a sketch book this year and to investigate both how it may help me and also how it may help those with whom I work on workshops. The sketchbook is a staple of Arts courses and I was talking to an artist in North Berwick on Christmas day who despite the passing of over 30 years still has all his sketchbooks dating back to A-level. The use of a sketchbook as an aid to reflection is well documented as is it's value in recording development over time. The final influence came from Karl Mortimer who wrote an excellent article on the use of a sketchbook in photography. I browsed a facsimile of a sketchbook belonging to Gauguin and was reassured that they do not have to be things of beauty in themselves. Mine will be private, completely so. I don't believe I could think as honestly if I knew it might be seen by others. That view may change of course.

Printed Images

A new batch of prints have just arrived from Paul Grundy. There are those would would argue that you haven't created a photograph until you have printed it. I'm not sure I agree to that extreme view but I would argue that if you print your photograph to a high quality, there is a huge added dimension to it. I print small copies at home but for anything bigger that A4 I send them to Paul Grundy at UKV.

There is a wonderful tactile quality to the matt prints he produces. They are objects that make me want to hold them, touch them and they even smell good. The depth he achieves is breathtaking. It even seems at times a pity to put them behind glass, such is the surface finish. This is not High Street budget printing but it is without doubt worth every single penny.

Update May 2017: Sadly Paul Grundy is no longer making prints and is enormously missed by a great many photographers.

I now send my files to Loxley at https://www.loxleycolour.com They offer a high quality Giclee printing service on a range of papers including the marvellous Hahnemuhle range. Their quality and service are outstanding and whether by luck or good management, their colours match what I see on my monitor to perfection.