ARCHIVE: LEVELS 7 – RURAL IDYLL (MONO + COLOUR)

 

 


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Roadside fence on Walton Hill, on the top of the Polden Hills; 13 Jan 2016.

The title of this post is just what this isn’t, if you see what I mean – but then what farmer wants people spilling over onto his fields from a small car park beside a busy main road?

The rotation of the image brings side lighting from the right which ups the atmosphere.  The wooden elements are vaguely cruciform, the yellow lichen takes on the mantle of some creeping disease or disfiguration, and the snaking barbed wire speaks to me of naked (and industrialised) pain, persecution and exclusion.  Looking at this, I can’t help but think of a crucifixion, albeit not one with any religious connotations. 

This archive presents some of the pictures that I’ve taken on the Somerset Levels over many years.  More context can be found in the first post in this archive – 1 – and also in my first Somerset Levels post, from 2011 – here .  Further posts in this archive are here: 2 3 4 5 6 .  All of these links will open in separate windows. 

Click onto the image to open a larger version in a separate window – recommended.

Technique: D800 with 70-300 Nikkor lens at 300mm; 1600 ISO; Silver Efex Pro 2, starting at the Film Noir 1 preset and selectively restoring colour; rotated 90 degrees clockwise.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

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About Adrian Lewis
Photographer - using mono, colour and combinations of the two - many types of subject, including Minimalism, landscapes, abstracts, soft colour, people, movement, nature - I like to be adventurous, trying new ideas, working in multiple genres. And I've a weakness for Full English Breakfasts and Duvel golden ale, though not necessarily together.

15 Responses to ARCHIVE: LEVELS 7 – RURAL IDYLL (MONO + COLOUR)

  1. bluebrightly says:

    I don’t think of crucifixion – the horizontal doesn’t register that much for me. I zero in on the lichens. 🙂

    Like

  2. krikitarts says:

    Your rotation works really in this one, and so do the textural contrasts among the various elements. Like it a lot!

    Like

  3. Karine says:

    Oooh, lovely textures in that pic!

    Like

  4. paula graham says:

    Good shot and it demonstrates so well that most of this beautiful country is owned by someone who does not want to share..who does not want you on his land. Unlike most northen countries which have the ‘right to roam’.

    Like

  5. Meanderer says:

    That’s fabulous; so very striking. I do like the way you’ve processed the image with the selective colouring, and I hadn’t realised it had been rotated until you said. I might have to try that 🙂

    Like

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