Archive for September, 2009

Odin Stone: Plates 28 – 31

Tillman Crane - Odin Stone Plate 28: Bank Lane, Stromness, Orkney, 2006

Odin Stone Plate 28: Bank Lane, Stromness, Orkney, 2006

Plate 28: Bank Lane, Stromness, Orkney, 2006

It is relatively easy to show the passage of time by photographing things that are centuries old. When I stand in front of a standing stone it is easy to recognize the passage of time and acknowledge how things have changed. These two phone booths stand as silent sentinels, witnesses to Orkney’s place in the modern world. And yet they are also rapidly becoming symbols of times past. Notice the signs that indicate one takes change as well as credit cards. In the few years since this image further changes have taken place and most of the pay phones on Orkney no longer take change. As more and more people use cell phones, the need for a local neighborhood pay phone dwindles. The iconic red phone booth of Scotland may soon disappear from the landscape altogether, not unlike the standing stones and the few that remain will be monoliths to another century.

Tillman Crane - Eday Ferry, Eday, Orkney, 2007

Odin Stone Plate 29: Eday Ferry, Eday, Orkney, 2007

Plate 29: Eday Ferry, Eday, Orkney, 2007

The island of Eday lies 15 miles north of Mainland Orkney and is the ninth largest island in the archipelago. My intention for visiting this island was to photograph the Stone of Setter (Eday’s major standing stone), the chambered Cairns of Vinquoy, Breaside and Huntersquoy as well as the beaches and landscape. Visiting a new island was always exciting for me because although I almost always had specific locations in mind, I never knew how I would relate to the island and its environment so the images I returned with were often a surprise. The islands are all reached by ferry, some an hour’s ride, others a full day’s, some on a daily schedule, while others were on a twice monthly one. Enjoying ferry travel and with an hour to Eday I decided to incorporate this ferry ride into the project. I thought a pinhole image might provide a different look and feel for my Orkney work and set the camera down on the bench in the corner of the cabin on the ferry.  I let the exposure go for the entire trip to Eday and it turned out to be a good exposure, with people moving in and out of the cabin and leaving only a ghostly vision. The tilt of the table provides the feeling of a sea going adventure, and by using the pinhole I was able to make a photograph that is completely different than one I would have made with a lens camera.

Tillman Crane - Odin Stone Plate 30: Betty Corrigall’s Grave, Hoy, Orkney, 2005

Odin Stone Plate 30: Betty Corrigall’s Grave, Hoy, Orkney, 2005

Plate 30: Betty Corrigall’s Grave, Hoy, Orkney, 2005

This has been called the loneliest grave in Britain. On the boundary of Hoy and North Walls parishes on the island of Hoy (second largest island in Orkney) lays the grave of Betty Corrigall. Corrigall was a young woman living at Greenairs Cottage who fell in love and became pregnant. The young man left for sea leaving Betty alone and, like Hester Prynne, shunned by her neighbors. Twice she tried to kill herself, succeeding in hanging herself on the second attempt. Because she committed suicide she was denied burial in consecrated ground in any of the local churchyards and so was buried in unconsecrated ground on the border between the two parishes. She lay in an unmarked grave from the 1770’s until 1933 when two men digging peat dug up her coffin. Curious, they opened the coffin and discovered that the acid from the peat had preserved her corpse. They reburied the coffin and forgot about her, but during World War II her coffin was again discovered by soldiers digging peat and again she was reinterred. Unfortunately, word spread and repeated exhumations by curious visitors caused her remains to begin to deteriorate rapidly. Finally the local police took steps to stop the practice and she was reburied with a concrete slab placed over the coffin. The grave remained unmarked until 1976 when Mr. Henry Berry erected a small fiberglass headstone during a belated burial service.

On each visit to Hoy I stopped to photograph this lonely grave. Its quiet hillside isolation spoke to me. On several occasions the wind howled and the camera was nearly blown off the tripod but I was finally able to capture an image the carried the sense of isolation I felt standing there and looking at this grave. Over the years a small fence has been erected around the grave and a wooden walkway leads visitors to the gravesite. What is it about our society that we will shun someone who makes a mistake but years or decades later forgive the sin and revere the person who was cast out? There her grave stands on the border between two parishes on Hoy, with a white stone and white fence protecting her dignity. I see it as a constant reminder to our imperfect humanity.

Tillman Crane - Odin Stone Plate 31: A964, Stenness, Orkney, 2005

Odin Stone Plate 31: A964, Stenness, Orkney, 2005

Plate 31: A964, Stenness, Orkney, 2005

Two icons of the British Nation stand side by side on the road in Stenness, a mail drop box built into a stonewall and a red phone booth. These red phone booths are leaving the British as well as the Orkney landscape. During my travels around Scotland I noticed that many of the traditional red Royal Post mailboxes are decorated with a coat of arms. Curious, I sought out the meaning and this tradition began during the reign of Queen Victoria. It was decided to place mailboxes at locations other than the post office and several designs were created, among them the free-standing mail box column and the type built into a wall. Queen Victoria insisted that her royal crest be included in the design. Each successive monarch continued the trend, placing new mailboxes around the countryside. Because of this tradition, it is possible to date the placement of the mailbox by the royal crest found on the face of the mailbox. This one in Stenness was put in place during the reign of King George V. I wonder how long it will be before these local community mailboxes become symbols of bygone times, unusual curiosities like the standing stones in the landscape.

September 2009: Working your way

When I am working on a problem, I never think about beauty. I think only of how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.
- R. Buckminster Fuller

What is your working method? It doesn’t matter whether you are a photographer, painter, ceramicist, chef, or writer. Regardless of your creative medium we all have to discover how we work best, and from this knowledge, design our individual workflow. Each of us has to figure out our own way of working that allows us to produce work that is uniquely our own. Although certain procedures in life require particular adherence to specific detail for success (i.e. film processing) in most cases placing your own foot in the footsteps of another doesn’t result in work that is unique to you. I believe that by looking at why we work and how we work enables us to craft a workflow all our own. This in turn allows us to be creative, reaching for a depth in our experience that is required for truly honest and real work.

As a photographer, how would you describe your process from conception of the image to completion of the print? More specifically, do you make the image and then process and print immediately or do you let the latent image sit and “age” before processing and printing? There isn’t any right or wrong answer to this question, other than the methods you choose to work with in order to make the images you need to make and present to the world. What is paramount here is that each of us creates a flow in our work that is ours, one that evolves out of experimenting with ideas from our teachers, from readings, and from observation of the world around us. Photography is a creative endeavor and for a creative result you need to be creative in how you approach your work. If we photograph mechanically, without thought to what drives us individually, then the images we produce will be mechanical, perhaps technically “perfect” but devoid of a beauty which brings it alive to others.

After the last newsletter several people wrote and asked to “see the photograph” that I spoke to of making that morning in the fog. It hasn’t been processed yet, and may not be for several weeks. I find that I need to separate the steps involved in taking an image from concept to completion. Making the image, processing and editing the image and finally,  printing the image need to be three separate events. And each needs to be evaluated differently. I enjoy each step of the process separately. I like to let negatives age before they are processed because I want to forget the experience of making the image. When I am processing the film I want to see the emerging negative with fresh eyes, to see it really for the first time. I have forgotten the preconceived notions of what it “should be” and try to see it for what it is. If I wait long enough, then every negative I process is a new negative to me. I have forgotten the experience of making the image and can concentrate on what I see in the image. Later, as I edit negatives, again I see them with fresh eyes. Does the image actually “say” anything? Can I see the idea of the image months after exposing the film? And later yet, when I make the print, again I am re-experiencing the image for the first time. The separation from exposing, editing, and printing is important. So I let my images sit for weeks if not months. It is important for me to let an image age, like good whisky.

It is important for each of us to find our own working method, one that allows us to do the work we need to do in a manner in which we feel comfortable. Obviously I am not talking about working on assignment with deadlines, I am talking about doing the work that as artists we are compelled to produce. The work that is important to us. Finding this working method is a long process, with one right answer, and many wrong ones. I want to encourage you to find your own workflow, your own method of working that makes sense for you. It is by discovering your methodology for producing work, that you will produce your best work. But it requires asking hard questions, separating out the different aspects of your art and understanding how they work together to make your work uniquely yours. Follow your own path, and it will allow you to make work that speaks to others.

All the best,
Tillman

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