Fence at the former Westhay Garden Centre; 30 Mar 2005.

A newly erected fence, still with its panels clean, fresh and roughly edged.

Even when I used to project this colour transparency in slideshows (anyone remember slideshows???), it was always rotated anticlockwise as shown here.  The direction of rotation can be seen from the shadows on the panels’ right edges.

And ever since I first rotated this photo, which is (UPDATE – far more than) 10 years ago now, it has always reminded me of three people in a procession, moving towards the right.  Religious people, monks in habits perhaps, with the whitish areas either portraying their hands clasped in prayer, or their devout, uplifted faces.

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

Technique: OM-4 with 75-150 Zuiko lens at 120mm; Fuji Velvia 50 colour slide push-processed to 100 ISO; tripod; rotated 90 degrees anticlockwise.

UPDATE: well, 16 years ago, that is a long time.  But what really gets to me here is not all the years that have passed, but the technique used – push processing of colour transparency film!!!  That really takes me back.  And of course I didn’t do the push processing myself but, rather, I exposed this 50 ISO film as if it were a 100 ISO film, and then informed the (commercial) processors to develop it as such.  

And also – wow! – Fuji Velvia 50, the absolute must have emulsion for all “serious” landscape photographers.  But push processing that most sacred of films?  Most would have probably considered that photographic heresy!  Hope so, anyway …  😎 …


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.

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.


  1. bluebrightly says:

    Wow, who would imagine a sexy fence?? 😉 Funny that you see a religious procession… 😉


    • Adrian Lewis says:

      Well, I see things, you know, and this was a long time ago, when conscious visual awareness had only just struck – I did the whole thing, tripod, classic film, cable release – the thing that really got me out of all that I think was the image stabilised, 70-300 Nikkor telephoto, which really made photography a far more mobile, flexible and freer thing. It all seems so long ago now. 🙂

      Liked by 1 person

      • bluebrightly says:

        “a long time ago, when conscious visual awareness had only just struck…” – that’s very funny in itself, somehow. I’d guess visual awareness was always at work but maybe at a less conscious level. I don’t have a progression through equipment like you because my tools were more likely to be pencils or other objects. It was just simple point-and-shoot until the digital era, then a gradual progression through digital cameras without ever going the tripod and cable release route. So I can imagine how liberating it must have felt, that lens.


        • Adrian Lewis says:

          Oh yes, I know that visual awareness was there right from my earliest days, as a child I used to be often struck visually by things, but I had no idea what that meant. It was only much later (c. 2000?) that I actually became conscious of what it is. And yes, that lens – which I still use in a more modern form – was a real game changer, big time! And not least because in many instances I seem to “see” in c. 300mm telephoto mode. 🙂


  2. Surprising move!.. 🙂


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