On The Road with Vicky Lamburn

I haven’t written anything since I got back about my sojourn across the North Downs, a 132 mile hike from Farnham in Surrey to Dover in Kent via Rochester and Canterbury. The biggest reason as it stands has been my:

• Very busy couple of weeks since I got back
• The depressing fact that a year on I have still to pull my finger out and finish writing about the South Downs Way which I did almost a year ago now.

But there have been other reasons. When I started the South Downs Way I knew and still will produce a photo book on the South Downs Way but the flaw was trying to shoot it all in ‘one-sitting’ and whilst this is true to the journey, it has produced some of my favourite photos but also some that I am less than enamoured with. The upshot is that I’m going to need to re-visit the trail and photograph it again. Not exactly a bad thing in my book! So this project whilst very much swept aside for me to get on with impression:mk is alive and I am sticking with it. I just have to get these things right and there is no need to rush (unless of course I die tomorrow in which case i need to get a shift on!)

The other reason is a biggie, but that hasn’t stopped me getting on with it in the same way that say my birthday, barbeques, the pub (a few times admittedly!) and doing some extra work outside of the day job has done. But it has made me stop writing about it in yet another diary like fashion. Why?

I have long shrugged off or indeed acknowledged/struggled to find that any work of mine (photographically or written) has a philosophy, there is one but it’s not exactly obvious and probably still isn’t to me. But I do know what I am interested in and I’m now old enough to not give a damn about whether people think it’s odd, weird, deranged or obsessive. Which is a good start because there is nothing wrong than wanting to say photograph in black and white maybe the underside and underbelly of industrial Birmingham with its urban motorways and canals and decayed industry and social housing but not being able to do so because you’re worried a friend or all your friends are going to look dimly on it. Now, the latter is also something I will do (when I get time) but I’ve completely got over the whole keeping up appearances for friends, I am what I am and if you don’t like it do yourself and me a favour and kindly show yourself the door darling.

But behind this in the things I have attempted to write, and the things I do photograph of my own volition have been informed by something, or a series of somethings that are never entirely in isolation but do quite often float in the ether encapsulated all by themselves. Quite often these things are entirely subjective, subvocal, hidden and emotional and its hard to explain them except through a photo, or a sentence/paragraph that forms part of that overall patchwork of experience which describes where I am at this time, and what has gone before to bring me here in this frame of mind.

Without drifting needlessly into the obtuse, walking has always given me the freedom to think clearly. Whether that’s drifting around London or Brighton, or out in the wilds of the Downs or indeed the North Downs it hasn’t really mattered. The car, and to a lesser extent the train give you a sense of movement and an interesting perspective on how the landscape and your viewpoint shifts with that movement, but it’s nothing like the view you get when walking, which awakens and feeds that curious appetite. The bus for me does none of these, there’s no romance or emotion in that transport. It’s as utilitarian as a girdle (unless you have a girdle fetish, not that I am suggesting bus buffs are… Someone help me out of this hole!)

Walking this time seemed to sew up some kind of philosophy, it’s very quirky but it makes some sense. And so rather than write just a series of daily diaries of each day on the North Downs Way I’ve decided to work it into a wider remit on photography, subjectivity and philosophy of an art form and indeed maybe even a little of life. It’s hard to explain succinctly otherwise there would be no point in writing a book but it’s non-fiction and most definitely not a Kerouac-inspired journey dialogue. It is really a photography book, it might not be “Mastering Photoshop CS4’ or ‘The Dummies guide to Digital SLRs’ (I have no idea if those books exist but I bet they do, and I bet they are really really boring, bit like what I write then *chuckles*) but it’ll be interesting none the less.

The photo that summed this up for me is one I am still waiting back for, but maybe that’s it, a photo can make sense even with it not present if the thought behind it is sound. I was sat at Gatwick Airport station, on the final leg back home to Worthing, Day 14 of walking and I had done it, I had walked every inch from Farnham to Dover. And I was sat on the floor of the platform in the sun, it was nice to stretch out the legs but you get interesting perspectives on different levels. Ahead a lady, perhaps a flight attendant still dressed up glamorous strolled down the platform towards the incoming train and ahead a train was moving north to the far-side platform, the sun was bright. And it was hot (never start a sentence with a conjunction – except when it works for effect.) Long shadows carrying the cerebral and emotional baggage we all hide following in tow and the sky was pitch perfect blue. The departure board scrolling across for the Brighton 1842 or something like that fringed by its bright yellow metal armature which burst out uncontrollably against the navy skirt-suit of the what I have now decided is most certain an air-hostess. And in that pitch perfect blue sky a plane is coming into land taking people back from their escape, and the train is here to carry some away too on a hot Sunday noon. Why and what is all this for, each little step and snatched glance, with every uttered word what are we doing it for. Are we always In Search of Sunrise?

And photo sums it up for me what this book is about and that’s the book concept/title too, In Search of Sunrise. It’s a quirky idea but it makes sense. It’ll be a good antidote to ‘1001 Digital Photography and Adobe Lightroom Skills: The Ultimate Guide to everything.’

First things first: My Canon EOS 5 and then 3 never fell apart on any hike. But then I hadn’t walked 160 miles with either in one go, but they proved to be tough cameras. So the Leica’s first outing on a hike through Surrey and Kent in South East England for 2 weeks around my neck covering at least 130 miles up and down on the trail and 30 miles to and from pubs, accommodation and around towns would give it a gruelling challenge.

The result was the M2 holding up perfectly apart from one screw going walkabout somewhere in Rochester probably.

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As I have said before, there are few things in the world that get people’s backs up: religion, politics, the EU and Ken Rockwell

His website is an enjoyable read, it isn’t some statement of fact in all cases and apparently using Windows is like living in a Communist country. Well I better go get myself a Trabant and start talking about how good the ballet is in Prague this spring That aside, he’s just published his top ten peeves about amateur photographers.

Now I am an amateur in the sense I am not professional i.e. I don’t take photos for a living (or my main income) but I’m not an amateur with regard to knowing what I am doing, though…

Not quite sure why he gets a bee in his bonnet over it but that’s his own perrogative! A few points though did make me think, eh?!

• Backpacks:

  Number on his list is the backpack. That makes some sense to a degree but it’s a bit naive to assume that most people with cameras lumber around for a couple of miles and then pack it in. I’ve been known to walk 25+ miles in a day and there is no way you can shoot all day without a backpack carrying some supplies not just for the camera but also you. Backpacks may not be a fashion statement but photography isn’t about some fashion statement or looking the part, it’s about the journey and the photography. And if I can do more of the latter because I have water and food, and a stack of film in my backpack then I’m all for that. It’s also a good place to keep a purse and mobile phone as I don’t know of many women who carry their purse in their pockets all day long like a man does with his wallet.

• Camera worn directly over the neck:

  Again I’m not at all sorry if I look a nerd because my M2 is around my neck but for me it works, also walking long distances with a large backpack and the camera slung over one shoulder does not work, the backpack (which if you’re walking over a number of days like I’ll be doing in a week’s time, 135 miles worth) restricts access to the camera. Frankly if you’re worried too much by how you look to others carrying a camera over your neck, seriously take a step back and figure what you’re more bothered about: feeling comfortable taking pictures that work for you, or looking cool. It just so happens that being really ugly I don’t have to concern myself with looking cool

• Lens caps:

  Largely I don’t bother either, I have an 81B on most lenses and that’s the cap. However on my Summar, with its large unprotected easy to scratch front element that’s just been repolished, I’m not going to have my lens ruined by not protecting it with a simple lens cap. As I’m not a sports photographer I have no desire to throw lenses in my bag. Largely because I don’t have a large income, have items sent to me for review or get things sent to me for nothing, but because I have a day job like most and lenses take a large chunk of my salary — I work them hard, but I respect them. Press photographers don’t have this, it’s provided by their employer and if it breaks, they don’t usually pay. If I broke my CV Ultron, it’s me who pays.

That said he also talks some sense. Just like I do on the odd occassion.

The ones I do nod in agreement with though is the assessment that some people freak if they haven’t got every mm of range covered and the old logo on the strap thing is real sucky. In fact the logos on most cameras suck full stop which is why I love my M2 in that the front of it has no daubings at all to identify who made it and what model. All those names and model numbers do is serve as a free advert, it’s not like you wake up some days and think “Ooh now which did I buy again, a Nikon D300 or D700?”

Either way, Ken’s doing Ken’s thing, expressing his opinions — even though some of them are curious. The most amusing thing lately is how his glowing review of a “$15 Olympus 35RC” ended up pushing at least one such 35RC OVER £340 on eBay. In perspective, that’s £40 more than my M2! I’m sure Steve Jobs would be impressed at how Rockwell appears to have managed to get someone to pay way over the odds for something you could do with another camera for about £330 less.

Anyway, keep up the good work Ken, we love you really, although its back to my communist country seeing as my iBook has been stolen.

Arguably this happened before digital came along as some of the 35mm compact cameras from the ‘80s and ‘90s were pretty boring things to look at. A lump of plastic with some cheap chrome effect trims and buttons. Nothing to write home about.

Now I’ll be the first to admit that I tend to use things that get the job done above and beyond aesthetics and so forth so owning a Leica isn’t a fashion statement for me, it’s the tool that gets the job done. The fact that I still own, drive and run a pants car (a 1988 Ford Escort no less – and it looks a right heap) is a testament to the fact I couldn’t give a flying f*ck about keeping up with the Jones’ or indeed embark on a major binge of short term consumerist highs. I like nice things, I respect people who have nice things, but I’m no fashion victim myself.

In yet another conversation where I was told (no not asked, told) why I should dump my film gear I explained all the usual stuff – I like working with the aesthetic film gives, I like projecting my slides to family and friends, I enjoy developing and experimenting with processing my films and I adore working in the darkroom making prints. Then I thought of another reason.

It doesn’t apply across the board as this criticism applies to my EOS 3 and in fact most modern film SLRs too – but I increasingly don’t like the look, the feel and the actual usability of modern cameras. I like things to be simple. These days, EOS 3 included (so this isn’t an anti-digital rant, I don’t do those as they are futile) there are buttons and gizmos everywhere, it’s hard to use a camera sometimes without taking your eye off the ball. This applies less to SLRs as the viewfinder usually gives you all you need to know and a good one with good ergonomics will allow you to adjust the exposure, meter etc. all from your shooting grasp. Digital compacts less so.

 
Workmen (Leica M2, Summar f/2, Fuji Neopan 1600, Kodak Xtol 5mins 21C)

I hate all that clutter, it distracts you. A good camera can equally be one with all the buttons and menu options in the world, but also be one with a shutter speed dial, a shutter release and a rewind knob. Sure the latter is pretty basic (but also aptly describes the Leica M2!) but there’s little where you can go wrong or fumble.

The problem I have is that technologically you can’t fault the cameras. I might think that sounds a bit pap with regard to things like smile detection but if they help people who aren’t photographically adept take good photos then that’s a great thing. What I don’t like is the fact that there are heaps and heaps of options and buttons on many cameras now which really make the thing too complicated. It would be nice to also see a bit of older styling here and there. I prefer the way cameras were made to they way they are now made, although those barely 1” thick  digital compacts are pretty neat looking things.

Maybe Olympus’ Micro 4/3rds (Panasonic Lumix G1) for example will be a starting point for making cameras a bit smaller again and a little less cluttered?

There is of course the Epson (Cosina) RD1/s/x and Leica M8 but we’re not talking about a £150-200 compact camera there, we’re talking a lot of money, especially on the M8.2 at getting on for £4000 which is very questionable.

So that was my other reason, I like the feel and usability of older cameras more than the newer ones. Smile detection is great, but it isn’t necessary in the hands of someone who at least protests to know what they are doing!

Bodiam Castle, East Sussex

Taken shortly after sunrise on 21 Feb 2009
I really do love using the Leica M2

Leica M2, Kodak EBX 100, Hoya 81A and Voigtlander Ultron 35mm

Continued from Part 2

Part Three – Final thoughts on a TLR and Medium Format in a digital age

Anybody who knows anything about my photography knows that apart from a quick snap on my mobile phone, I only use film cameras. Despite holding down a job in IT working on the forefront of web technologies – I still don’t have any desire to go out and buy digital camera. But with all that considered, how does this weigh up in a digitally dominated photographic world, and even though I spent a mere £120 on this system so far (excluding film) – is it really such a good investment?

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Gary e-mailed me after I started the C330F Review (which I hope to finish tonight) with regard to this gem of a medium format camera. Well, he has a great blog himself looking at photography from the world of Mamiya.

As I have grown very fond of my C330F, there is a chance I’ll also invest in a 6×7 system such as the Mamiya RB/RZ67. Click the logo to follow on to his great blog:

He’s also the US distributor so why not check out www.mamiya.com whilst you’re at it?

There are three things in life that are certain to cause a heated debate and snapped exchanges: Politics, Religion and Ken Rockwell.

However, he has posted a gallery of photos taken on his Leica (an M7 I think) on a Rt. 66 trip (something I’ll do one day) with some Fuji Velvia 50.

The results are just fabulous, seriously fabulous and wonderful work.

View Ken Rockwell’s Route 66 Gallery

Since owning a Leica M2 myself, I just cannot get away from the fact that it is one of the most wonderful enjoyable pieces of photo equipment I have ever owned. And apart from telephoto work, my EOS 3 is beginning to get very envious of the M2. Who can blame it, it’s a wonderful camera and shooting slide in it is a righteous liberating experience.

Show your support for making the South Downs a National Park in 2009!

Hopefully by June this year (2009) I believe the government will confirm one way or the other whether the South Downs are to become a national park nearly 50 years after the first were created. In fact the South Downs were one of the areas first identified in 1947 to become a national park, but unlike the others suggested in the report, it never happened.

Chanctonbury Ring (in distance), W.Sussex
Photo Copyright ©2008 Victoria JK Lamburn

But with your support, in Summer 2009 it could become a National Park at long last.

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Part Two – Twin Lens Quirks and Revelations

Continued from Part 1 | Skip to Part 3

So what is the Mamiya C330 or the C series in general? They are Twin Lens Reflex (TLR) cameras which means as the name suggests they have two lenses. One of the lens is the one you view through and the second lower lens is the one that is the taking lens (i.e. with the shutter that exposes the film behind it.)

This leads to a few interesting quirks. The first advantage of a TLR is that you can see virtually what you are taking a picture of as you take it. This has some distinct advantages for long exposures and portraiture where you want to be sure the person/people had their eyes open at the time of exposure. The second advantage is that compared to some medium format systems the Mamiya TLRs are cheaper than other interchangeable lens counterparts like the Bronica ETR, Mamiya 645, Pentax 645 (6×4.5 cameras) and the Bronica SQ and Mamiya 6/7 (6×6 cameras.)

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