Posted on August 5, 2016 by under
Having had the good taste to use one of my Duffield images for their new ale Duffield Amber, the Town Street Tap Room has now put six of my Derwent Valley images on the wall of its recently-opened micro pub.
Thanks to the Tap Room manager Jamie Traynor for his good taste.
So, I offered to take some photos at their official launch yesterday (Thursday, August 4th).
The Tap Room or Micro Pub is becoming increasingly popular.
As defined in Wikipedia, it’s ‘a small freehouse which listens to its customers, mainly serves cask ales, promotes conversation, shuns all forms of electronic entertainment and dabbles in traditional pub snacks.’
Who wouldn’t love a pub like that?
Like many micro pubs, the Town Street Tap serves beer straight from the cask in an open view cellar.
There is no bar, so when you walk in, you need to gaze up at the choice of beers, and then give your order to one of several staff members, distinguished by their trademark apron.
The Town Street Tap also serves ciders, perries and wines plus snacks.
Here’s a gallery of photos from the launch evening where the ribbon was cut by Derbyshire cricketer Chesney Hughes.
Posted on July 13, 2016 by under
I spent a fair part of Sunday shooting the 10th Belper Food, Real Ale & Craft Festival.
My pride in Belper soars with each passing year and, in spite of a rainy start, there was still a substantial turnout and midday arrivals were eventually greeted by sunshine.
There were the usual 100 plus stalls, a remarkable figure considering the first event in 2007 attracted 24.
As I needed to take several photos of stallholders, it was encouraging to find that quite a few of them were attending the festival either for the first or second time.
As the stallholder bookings increased, it was decided to place several stalls in the Memorial Gardens.
What a great move: it created space for crowds to sit and laze on the grass as well as provide an extra performance space.
Furthermore, as my photo shows, this enables Belper to show off its floral displays, especially as this is the month when the East Midlands in Bloom judges descend on Belper to judge its Bloom efforts.
Proud as I am of the event, it’s disappointing that the new Belper Town Guide, which is 100 pages long, doesn’t even mention the festival. How could they fail to mention the town’s biggest annual event?
Also, I was told that although Node 56 did a wonderful job organising the live music -a showcase for many Belper acts – not one of the performers received a penny for their efforts. They never have. When I look at the 100-page Town Guide which has at least 75 pages of ads, and the 68-page Festival programme, which has about 60 pages of ads, and then consider the money coming in from over 100 stallholders, surely the Town Council could make a contribution?
Posted on May 21, 2016 by under
I visited a fascinating art installation at Belper Mill: Part of the Fabric, created by Tan Draig, OBE.
At first sight, it’s a web wrapped around the pillars supporting the cast iron structure of Belper’s North Mill.
Remarkably, this maze is one long continuous thread, enough to weave a man’s suit out of.
As Tan told the Derby Telegraph: ‘The idea of the web is that it reflects the tight spaces that the mill workers laboured in.
They were constantly surrounded by noisy machines in great long rows, all running with miles of cotton threads that were being spun, doubled and finished.’
This woven ‘tunnel ‘ ends in an opening which contains a free-standing structure.
Visitors are invited to write about a favourite piece of clothing on a strip of cloth which they can then be attached and form part of an interesting collection of textile related tales.
I was fortunate to find a couple who were wandering around the installation, clearly fascinated by it.
I also added a slightly surreal take on the installation by creating my own art: a subtle movement of the camera as I hand held it in order to create a sense of a haunted past.
As you’ll also see in one of the photos below, there are minuscule figures representing mill workers – 500 in all.
Posted on April 21, 2016 by under
As the Queen marks her 90th birthday, I am reflecting on the time when, as the official photographer for the Derby Cathedral Quarter, I was commissioned to shoot the Queen’s visit to Derby Cathedral for the Royal Maundy. This is the annual tradition whereby the reigning monarch gives a purse of money to the elderly – two people (one male, one female) for each year of the monarch’s life. As the Queen was 84, there were 168 recipients.
I don’t think I have ever been so anxious about a photo shoot. This was one of the biggest days in the Cathedral’s long history, and the sense of responsibility starting weighing down on me. As I had about two months’ notice of the event, it enabled me to spend many sleepless nights worrying myself daft. For one, this was press photography which wasn’t me at all, and this was going to be much more demanding than a wedding shoot. After all, you can always say to the bride: ‘Do you mind kissing the groom again? I didn’t quote get the shot.’ However, you can hardly say to Her Majesty: ‘Do you mind shaking hands with the Bishop again?’
What’s more, photographing the Queen was only part of my worries. I had to take photos of the crowds, the Maundy recipients, VIP guests, everyone associated with the Cathedral, plus the Yeoman of the Guard who turn up in all their finery and are responsible for the Maundy purses.
I fretted and panicked – a bit too much because I was close to turning the job down due to the strain I was under. I had to pull myself together. I started to feel better when I asked a fellow photographer, Ian Daisley, to help me out as, logistically, I realised I couldn’t shoot the entire occasion on my own. He eased the pressure. So did the weather. The forecast was good and, thankfully, the sun shone all day. I had a feeling God was looking down on me, as it rained the day before – and the day after.
My anxiety was quelled after taking one of my first photos of Her Majesty as she entered the Cathedral. She had a smile that suggested she was positively looking forward to the occasion. I thought: ‘She’s really up for this’ and, as I looked at that image on my LCD monitor, it made ME smile. ‘I’m up for this, too’ I decided.
It was still a tough, demanding shoot. I was one of only four photographers allowed inside the Cathedral. We were not permitted to use flash and could only photograph Her Majesty as she distributed the purses walking up the middle aisle – and even then, we had to stop shooting as she came within a certain distance. Because of the low light levels, I used ISO 1250, f2.8, from 1/125 to 1/200 sec.
I relaxed a little more as I checked a satisfying set of shots following her first walk up the aisle. My best photo of the Queen gifting a purse came in the second walk up the other side of the aisle.
As my camera caught it, the Maundy recipient seemed to be cupping Her Majesty’s hands, savouring the moment. It was a humbling moment knowing I had captured one of the proudest moments of this guy’s life. Maundy service over, we stepped outside for the regal walkabout.
What I like about the photo right is that the Queen is already clutching a gift of flowers and although a bouquet of cheap flowers in a cellophane wrapping is ready to be thrust at her – and this happens all the time to the Queen – I captured a look that shows an unflappable display of dignity.
Her smile seems genuine. Or maybe it’s well practised and this is the Queen at her most professional, knowing that photographs are being taken.
Whatever the case, you have to admire her.
What I like about photo left is that she lets slip her calm, smiling walkabout demeanour when presented with a gift by a man who, I was told later, ‘follows the Queen everywhere.’
I was also told that she knows this man well and he always showers her with gifts.
I would love to know what her gleeful look tells us about the particular gift he had bestowed on her that day.
My favourite photo is this last one – for many reasons. I was pleased that in the heat of the moment I took a chance and panned the shot, knowing that it might not have come off. But boy, it did! Again, Her Majesty’s smile is genuine. Maybe it’s the fact that the formalities are over for a while and lunch awaits down the road at the Derby Cathedral Quarter Hotel. I love the fact that I have captured not only her smile but also a blur of waving hands and a flurry of Union Jacks. I even got the reflection of faces in the bottom of the frame, and was delighted with the sense of movement just in those few horizontal lines across the picture.
After the day was over, I processed the photos and, buoyed with what I’d got, suggested to the Cathedral that they issue a souvenir booklet. It didn’t generate any extra income for me but I was proud to see my photos in a permanent form for public consumption. The brochure sold well.
I never thought of myself as much of a Royalist but that experience enhanced my respect for the Queen. I had never got so close to Her Majesty before and was surprised at how I felt such nobility and presence. When I give photo talks to Women’s Institutes, the reaction to these photos reminds me how privileged I was to capture this day.
This shoot was good for me: in the year that followed, I was commissioned to photograph Derby visits from Princess Anne, Prince Charles and Prince Edward. Where was this leading, I thought? A call from Prince William about a certain wedding in 2011? I would then be well on the way to completing the set!
Posted on February 23, 2016 by under
As a Trustee of Heage Windmill – and the guy who runs the website – I get to take a few photos, which is always a pleasure as the windmill is such a beautiful sight.
Not at the moment, though… due to a severe case of wet rot in the main timbers, the sails had to be taken down and sent for repair.
I tell you: a de-nuded six sail windmill is not pretty to look at.
However, thanks to the volunteers who launched the Trouble at Mill Appeal (TAMA) – and, of course, those who have donated to TAMA – there is light (and wind) at the end of the tunnel and it looks as if the sails will be turning again when we come to open on Saturday, March 26th.
Here’s a set of photos when I visited the factory site where we’ve been allowed to carry out some of the essential work.
The volunteer team have disassembled the shutters on the old sails, cut out the dead wood on the whips, and painted all of the sails and shutters. It’s a long painting job as each of the six sails needs three coats. At the time I took these photos, 15 had been painted.
The job then is to reassemble the shutters on the old sails and, as each of the shutters have been sponsored – with each sponsor allocated a number – those numbers need to be re-stencilled.
Posted on February 14, 2016 by under
With my projected photo book of the Derwent Valley Mills World Heritage Site in mind, I spent an enjoyable Saturday afternoon photographing at Derby’s Silk Mill as six teams combined in the 2016 What If? Machine project.
Running since 2012, What If? sees the design, build and operation of a Goldberg / Heath Robinson ‘chain reaction’ machine.
Rube Goldberg and W. Heath Robinson designed contraptions with a simple objective but which were simultaneously ingenious, over-complicated and makeshift.
Remember the board game Mousetrap? If so, that will give you the idea.
This is a splendid, fun project involving – as you’ll see from my photos – whole families.
What If? is also a nod to Derby’s engineering heritage and it’s entirely appropriate for the Silk Mill with it having been re-energised as ‘The Museum of Making’.
Although my photos can’t show the six machines creating a chain reaction – that’s for moving film – hopefully they convey something of the eccentricity and ingenuity of the contraptions, not to mention their absurdity.
Mind you, as you’ll also see from the faces, all the teams took it quite seriously. There was some intense minds hard at work but it was smiles and cheers at the end.
Here is a gallery of some of the photos. If you want to see all 95, click here to go to my website gallery.
Posted on February 11, 2016 by under
In the course of assembling an April issue article for Derbyshire Life on Derby Choral Union, I spent an enjoyable hour in the company of the choir, photographing rehearsals for their 150th anniversary concert.
I was soon absorbed in a friendly but very creative atmosphere as the 100 singers – under the firm and inspiring guidance of their musical director Richard Dacey – worked on Elgar’s Music Makers and – the highlight of their anniversary concert – a commissioned choral work by contemporary choral composer Kerry Andrews entitled Thy Flight Be Fleet: Trainsongs!
The composer has already been in touch with me, revealing that the train theme was suggested as the Derby Choral Union has its roots in the railway industry.
So, Kerry has composed a collection of linked movements which explore a train journey as a journey of life.
There’s railway-based text by James Joyce, Walt Whitman and Robert Louis Stevenson (probably his poem From A Railway Carriage) and, intriguingly, Kerry travelled around on trains, noting down sounds she could hear – the squeaking of brakes, announcements and tannoy beeps – using some of those for the orchestral music.
She has also mixed in folk songs. Sounds fascinating.
What makes this commissioned work even more exciting is that the anniversary concert will be held in Derby’s Roundhouse, the world’s oldest surviving railway roundhouse.
It’s on Saturday, April 30th at 7.30.
For ticket details, go to the Choral Union website: www.dcu.org.uk
Here’s a gallery of a few of my rehearsal photos…
Posted on January 27, 2016 by under
These are exciting times as the Arkwright Society’s photographer.
I have just been to the soon-to-open Gateway Visitor Centre at Cromford Mills to take some more photos and saw, for the first time, the Richard Arkwright hologram.
It’s been very well conceived and executed, with Arkwright taking us through the story of how he transformed Cromford and, even more vitally, revolutionised our way of working.
This audio-visual is just a part of the new Gateway Visitor Centre which effectively forms the hub of the Derwent Valley Mills World Heritage Site.
The centre has a ‘soft’ opening on February 1st with an official opening on March 10th which promises to be a loud opening: Brian Blessed is cutting the ribbon!
Here is a gallery of the Arkwright hologram and a few from other rooms in the Visitor Centre.
Posted on November 16, 2015 by under
Having just posted on Facebook the October image of my Belper Calendar – depicting Belper Farmers’ Market – I thought that the Facebook viewers would struggle to see the 12 images in the montage as they are a bit small, so I have reproduced them here. If you see someone you know, tell them about the calendar!
Posted on October 17, 2015 by under
Wednesday… and I am itching to get out into the autumn sunshine to capture the richest colours I have ever known in this photogenic season.
I headed off down to Belper Mill and River Gardens, though after I took a few shots of the Horseshoe Weir, I noticed that the sun wasn’t at the best angle – there was no light on the weir trees at all – and shadows were harsh.
I felt deflated, especially knowing that I had missed glorious conditions just after sunrise a few hours earlier. I walked through the River Gardens and, apart from a golden yellow tree, saw nothing inspiring under the harsh sun.
As I stepped on to the walkway overlooking the pond before making my disconsolate drive home, my mobile rang. The way the day was going, it was bound to be a cold call. But no, it was Chris Peddy from the Derby Telegraph, ready to interview me about my crowdfunding appeal.
An appropriate place to talk about my Derwent Valley book, I thought, with the glory of the River Gardens around me.
As I was talking to Chris, I started to notice some wonderful, colourful reflections in the pond. There I was talking about Belper’s East Mill and, although it stood loftily in my presence, I was more taken by the abstraction of its shape and form in the water.
Suddenly, the day felt better. Not only was the Telegraph going to run a feature on me but also that phone call had delayed my stay and enabled me to spot infinite photo possibilities – I say ‘infinite’ because the ducks on the pond were continually breaking up the reflections.
The East Mill reflections struck me as poignant because this mill is degenerating; the movement in the water was splitting up the form and shape, making it look as if it was coming apart. It all seemed apposite.