Author Archives: Iain Gilmour

About Iain Gilmour

I am a retired Professor of Geochemistry, so exploration of landscape and its many overlapping layers modified over immense periods of time, together with humankind’s influence on that landscape, resonates particularly deeply with me. I take photographs for the pure pleasure of it, a chance to express myself artistically and to try and convey something of the connection I have with the subject. I work mainly in monochrome – I like the inherently surreal nature of black and white photography and the artistic process involved from the taking of the initial photograph through to the final print. In the digital world, photography has increasingly become influenced by social media so, while my photostreams contain a somewhat random walk through my photographs, my website is an attempt to bring some of my work together as a series of portfolios and photo essays.

Masson Mill

Continuing a series of images from some of the preserved mills of Northern England. For a black and white photographer the contrast, pattern and symmetry associated with the machines in these mills is a bit of a gold mine. Masson Mill, part of the Derwent Valley Mills World Heritage Site, was built in 1783 by Richard Arkwright on the banks of the River Derwent at Matlock Bath, and reflects the grandeur of its river gorge setting. Compared with other mills visited for this project, there is ample opportunity to photograph the details so that has been my focus for this portfolio.

Moorside Mills

In the 19th Century, Bradford in Northern England was famous for its worsted cloth. Moorside Mills, now Bradford Industrial museum has preserved some of the old machines that make for a fascinating photographic study. The various combing, drawing, spinning and weaving machines are in superb, and in many cases, working condition while others are being restored. I find there is a beauty in the detail of the Victorian engineering, their repetitive symmetry and the contrast between the pale tones of the wools and threads and the black metal. For many of these images I’ve used selective focus to suggest the depth and scale.

There was a time when undertaking an extensive indoor photographic project without the use of a tripod was well nigh impossible and as many heritage sites do not permit the use of tripods indoors, well, you get the gist. However, lenses like the new Fujinon 16-80mm f/4 R OIS WR with quite exceptional image stabilisation makes hand-held photography in low light much more feasible when combined with the high ISO performance of modern cameras. So, these are the first of what I hope will be a portfolio of images looking at the preserved heritage of what was once a major industry and employer.

Light and Space – Ely Cathedral

Some of the earliest and most famous photographs of Ely Cathedral are those of Frederick H. Evans. He was profoundly dedicated to pure photography, not altering the printing of negatives for aesthetic effects; rather using his ability to capture an image at the most telling moment of light and shadow. In keeping, these are ACROS film simulation jpegs shot with my FujiFilm X-PRO2 with no further processing.

The spaces inside cathedrals are vast and an intrinsic part of both their architectural design and function. Capturing them in a two dimensional medium is immensly challenging, space is hard to see, and I find that the third dimension is hinted at most strongly by light.

Yesterday's News

Strolling around the Beamish Museum in the north of England, I’m always curious to see some of the less visited corners. Upstairs above the newspaper office, is a recreation of an old print shop. Much of the machinery was sourced from the print works of Jack Ascough’s in Barnard Castle, one can only imagine the leaflets, posters and stories these letters and presses printed over the years.