Images which represent a series of interconnected new directions in my photography over the last year since spring 2019: a move up (again) to 8x10 and the challenges involved; a move to black and white and alternative processes (cyanotype and argyrotype); dedication to a specific project.

This project investigates emotional responses to trees in the (literary/artistic) landscape across time, via forays locally to me in Oxfordshire and Warwickshire, and sometimes elsewhere too.  It is inspired by an interest in evocations of landscape in ancient poetry, and by discoveries of graffiti on trees - both fit via the mythological lover Acontius, a significant figure for ancient pastoral poetics, especially in Virgil's Eclogues.   
The idea of writing on trees and connecting with the landscape fits with the idea I have of photography as a quiet dedicated kind of mark-making, something I’ve thought about via e.g. Sally Mann, and, differently, Alys Tomlinson’s Ex Voto work.

Alt-pro prints here are direct contact-prints from 10x8 Ilford FP4+ negatives, printed on Bergger Cot320 11x14" paper using a 12x16" Lotus printing frame.  Others here are medium-format film images from Hasselblad 500C/M and Mamiya RZ67 Pro II with Ilford Delta 400 and Kodak Portra 400.

Bob (10x8 Argyrotype)

Brightwell Barrow (10x8 Argyrotype)

"fraxinus in silvis pulcherrima" (10x8 Cyanotype)

Beech Tree Graffiti, Elleric (Hasselblad 500C/M)

"... et castaneae hirsutae..." (10x8)

"sub tegmine fagi" (10x8)

"... nec myrtes vincet corylos, nec laurea Phoebi" (10x8)

"castaneasque nuces, mea quas Amaryllis amabat" (10x8)

"Much taller than" (RZ67)

"I'm this much taller than Steve Payne" (RZ67)

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