Rediscovering your past

Way back in the late 80's, I got my very first camera. It was an EOS 650. I'd wanted it because I thought it was a really cool looking camera and it had lots of amazing things on it, like auto-focus. I was not, at that time, so motivated by the art element of photography. I was around 20 years old, and I just really wanted a camera, because my friend Craig had shown me his Pentax ME Super and Ansel Adams work. I was really a budding musician, but a camera was a lot cheaper to buy than a Synthesizer was. This week, I've been given the gift of discovering something that I lost a while back: one of the first photo albums I ever made of images when I had decided that photography was 'it'. I was busy looking around the house for something else and came upon the 'lost' photo album, much to my surprise and also delight.

It's been really interesting for me to look at the images contained within the album for a few reasons.

1) I've been able to see that elements of my current style were evident in some of the images contained within the album. In essence, these early images showed me a glimpse of where I was to go with my own photographic style / development. In my album, I see symmetry in some of the images, and a penchant for balancing objects in the frame. I had to laugh at how transparent my style was / is / has always been

2) There is an innocence in what we first create. When we start out, we don't know what we're doing, and that 'not knowing' is a form of freedom. We are not contained by rules, if anything, we think we need to know rules, so we can improve on what we're doing. But I'm really not in agreement with this line of thinking. I see things in my earlier work that I look at with pleasure and think - wow - that's really something that I tried that, and in some instances, what I know now that 'should not work', did in some of my images. It has reminded me that I should always try to be flexible and as open minded as i can in my own picture making. If only we could recapture some of that innocence we first displayed when taking up photography!

3) The path behind us, often indicates or tells us a lot about where we are going. I've seen how much I've changed. I've also been allowed to consider that this little photo album was perhaps the germ of what was to become a career for me, and a life changing occupation. It blows my mind to think that one thing can have so much power in shaping my own future.

So I guess I would like to ask you all, if you have been shooting for a while, to go back, dig out that first photo album, your first shots, and look at them again. All those shots you were maybe embarrassed about might contain some form of beauty that you are now mature enough to see, and would wish to develop. Conversely, all those shots you thought were 'ace' at the time are maybe quite embarrassing, maybe cliche, who knows? One thing is for sure, looking back on our work, is immensely satisfying. But additionally and more importantly, we can learn a lot about ourselves and our photography in the process.

Cappadocia

I'm just home from Cappadocia, Turkey. It's been a few days now, and I just received my Velvia films back. As much as I love to shoot colour, I'm being swayed at the moment to go Black and White with them. There's something about the landscape there..... .... I will be back in a week or so with the finished images. I didn't shoot a lot of film. It was my first venture there, and it's a challenging place to photograph. But it's also very otherworldly too.

Cappadocia, Turkey - Wish you were here!

I'm in Cappadocia, Turkey right now.

It's an amazing landscape, and one which I feel I will most definitely have to return to. I've been shooting a lot of Hasselblad square aspect ratio images all week with my friends Sonja and Ali. Ali is from Istanbul, and I was fortunate to meet him through one of my workshops last year. We got to talking and he suggested I come out to make some photos during the winter here.

The landscape is otherworldly. I hope to have some images to show you all once I'm home, and have them processed.

In the meantime, here is a photo of me with my dad (he's the handsome chap on the left). I've often taken my father with me on some of my private photographic adventures. He came with me to India and Nepal five years ago, where I made lots of portraits. He's enjoyed himself immensely, as it's been a really nice social outing, with two photographic friends.

I would like to thank Sonja and Ali for organising the trip to Cappadocia.

We've done a bit of sightseeing as well as the usual '6am early morning starts', the ones where you get to see some exceptional landscapes in some exceptional light.

Wish you were here.

Sighting the Tasmanian Devil

This week, we've ended up in the Tarkine region of Tasmania. We've been very fortunate to have been invited to use the land of Geoff King, who runs 'Kings Run Wildlife tours'.

Geoff is a lovely man, full of interesting stories about the land that has been in his family for generations (although the land private, it is part of the Arthur-Pieman Conservation area which is currently seeking world heritage listing), and he took us on a tour to see midden's created by ancient aboriginal people. Our little camper van is situated in a region near the coast line (which is very beautiful) and each night we've noticed that we have a Wombat as a neighbour. Each night the wombat comes out to eat his grass and just hang out. We've also seen a Tiger Snake during the day, which I've been informed is not the kind of snake you'd want to get close to. There have also been echidna's, wallabies. Quite a lot of wildlife as it has turned out.

But the highlight of the week for me has been the sighting of four Tasmanian Devils. They are nocturnal in nature, and are believed to be about 500 of them left in the wild now. Geoff runs tours, to show people them on his land. He was very generous and set up a lighting rig with some recent road kill near a vantage point for us so we might have a chance to see a Devil or two. Well, we switched on the light just after sunset (Devils are known to come out to feed just after sunset), and we came back about an hour later. While we were approaching the location we could heard the sound of bones being cracked and we knew we were in luck - there was a Devil feasting on the road kill.

We sat for maybe around 40 minutes and watched four Devils take their pecking order at feasting on the road kill. One of the Devils had white spots on its black coat while another had white stripes. They were extremely sensitive to sound and occasionally we would scare them off by our movement. Each time they retuned after maybe fifteen minutes of waiting, to continue feasting.

I'm no wildlife photographer, so what we did shoot of the Devils, isn't really up to much (why I didn't leave home without that 600mm f2.8, I'll never know ;-) but it was certainly something I'll never forget.

If you do venture to Tasmania, do consider coming up to see Geoff King's location. The landscape here is quite stunning and his tour I believe, is unique. I think he's sold out pretty much in advance.

Oh and yes, Tassie Devils do exist. Just look them up on Wikipedia. They are an endangered carnivorous marsupial, and they are rapidly dying out because of a contagious mouth cancer. There was until perhaps 60 years ago, a Tasmanian Tiger, but that was hunted to extinction. I hope that the Devil has a better future ahead of itself.

Postscript, the day after I wrote this blog posting, we sighted two Tasmanian Devil juveniles, on our way out of Geoff's land. We were told later on that it's often possible to see babies in the summer months, when they are extremely hungry. The photo that now accompanies this posting was made from our campervan, with a Galaxy SII mobile phone (I'm no wildlife photographer!), but I hope you enjoy the picture anyway and can appreciate perhaps how special the sightings were for us.

Iceland Book Feedback

Dear all, I'm currently in Melbourne, on my way to New Zealand today. I just spent the weekend with one of my very first workshop participant friends - Andrew, and we made some photographs around Port Campbell - where the twelve apostles are. It was an interesting return visit for me, as I feel this is the place where my photographic-journey really took off in 2000. It was nice go to back and say hello to this fabulous piece of landscape.

Anyway, I just thought I'd ask you all, those of you who have bought the book so far (quite a lot of you as it seems, and sales have now exceeded the first book in the same timeframe), to be so kind to let me know what you think of the book.

I'm going to leave you all with some of the personal email feedback I've had so far. I'm really pleased so far to find out how the book is being received!

Thanks once again for all the encouragement and support, and for buying the book :-)

Regards, Bruce

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It’s an object of beauty! That’s not something I say at all lightly, I can assure you. The finished product is superbly printed on excellent paper and each of the embossed cover, the paper cover and the slip-case are themselves very fine indeed. Plus, the fonts used are gorgeous. I’m a fan of fonts and those in ‘Nocturnes’ are just right for the subject matter.

As to contents: clearly, I like Bruce’s images very much and this collection has a strong theme which give the book a good structure; I also enjoy the short essays which relate to the making of those images. Often, monographs are simply collections of images. That’s an elegant approach, but in this case Bruce has also interspersed the photographs with a few essays stimulated by, or pertinent to the creation of, the images in the book. This, for me, makes it even more interesting and attractive as an artefact. ‘Nocturnes’ does not rely solely on images to communicate, it also gives some insight into the creative process and, more widely, into Bruce’s development over his several visits to Iceland. This seems to me to be a great addition to – again – the book as a piece of art in itself which extends it beyond simply ‘a collection of excellent photographs’ and makes it something richer and deeper. Mike Green

To read Mike's full review: http://mikegreenimages.com/2012/11/08/musings-on-the-allure-of-photography-monographs/

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It is a wonderful collection of work; standing apart from what has become a much photographed location. Beautifully produced, too. Well done. Steve Watkins, Editor, Outdoor Photography Magazine UK

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I received the book yesterday. It is a stunning production! We really like it. Well done! My wife is saying that if I do a trip to Iceland she is coming too. The print is beautiful and is in to be mounted and framed. Leslie Tait

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There aren't too many books I pre-order but this was one and it does not disappoint. I really like themed portfolios. There's something special that happens when it all comes together, the whole being greater than the sum of its parts or something like that. A really beautiful book. You can really see the thought and care that went into every page and how it all fits together. I wish you every success with it. Simon

Lost, now presumed Stolen

Hi All, Last week I was in Ullapool conducting a photographic workshop. On the first morning, I managed to leave a Think Tank rucksack at the edge of a small loch on the road between Ullapool and Lochinver. It hasn't been handed in to the police.

The thing that's bothering me about it the most, is that I had business cards inside the bag, which would have given whoever picked the bag up - an idea of who to call. Well, I haven't received a call yet and I now assume that the bag and its contents are now thought to be owned by whoever picked up the bag.

Inside the bag, I had:

Lumix GF1 14-45 lens 45-200 lens spare pair of glasses - just new, so not really happy about them not being returned Bankers security pin machine/keypad Garmin Sat Nav Business cards with my name and address on them

If you know anything about this, and wish to let me know - please contact me at bruce@brucepercy.com.

Many thanks, Bruce.

Camera Repair Recommendation

For the past year, I've had endless trouble with my Hasselblad 503CW body and numerous film backs. I've even sent it in for repair to Hasselblad but asked for the equipment back, because they were going to charge me £400 just to service two film backs. The body itself was going to cost another £400 to service.

On top of this, I had a local camera repair outfit 'service' the film backs and I think they just charged me for doing nothing. I really believe they didn't service the film backs because now I've had them serviced properly, I can feel they are lubricated.

I put out feelers through this blog for recommendations and I got a few people telling me about JDCamTech. I'm happy to say that John at JDCamTech was extremely efficient, and did a terrific job of servicing the entire outfit for around £300. He explained that Hasselblad equipment needs to be re-lubricated every three to five years. My outfit is running really smooth now.

If you do have any problems with your cameras, then I can't recommend him enough. I feel that credit should be given, where credit is due, and so if you do feel you have trouble with your camera equipment, please give John at JDCamTech a call.

Home

I'm just home from Iceland - a fabulous country with fabulous scenery and fabulous people. I had the good fortune to meet up with Daniel Bergmann - he is a very fine photographer who runs workshops in Iceland and has a very nice book out too.

But I'm so glad to be home. And the reason is simple:

I *love* Scotland. It is my home, and it is a beautiful part of the world to live. I'm just going to have a rest now for the next few days.

Wish you were here,

Bruce.

Canvas

I've maybe mentioned this one a while ago. It's such a compelling video set to some beautiful music by the talented Imogen Heap. I think I'm being influenced by thoughts of a closing in winter, that seems to be rapidly approaching here in Scotland. Summer is but a distant memory now, and the nights are dark by 9pm these days.... 


St. Kilda

From the main isle Hirta, that makes up the group of islands known as St. Kilda, this images was made looking out towards Boreray, Stac Lee & Stac an Armin.

I visited St. Kilda in May of this year.

Due to the low cloud that would hug the island for days, and the nesting Skua's, we couldn't actually get anywhere much. The wind and low visibility made for an impossible trip to the other side of the island (it's also amazingly very steep). But I think it was the birds that scared me the most. They attack you by diving right towards your field of vision with claws out in front. It's a very menacing pose and a good defence mechanism for keeping predators away from their nests.

Myself and my friend managed to get to this spot however, which isn't far away from the small Historic Scotland camp site (yes, there's a camp site there - shhhhh, I didn't tell you!). There's a very obvious dip that I found. It's not until today that I've noticed it's almost an exact compositional version of Joe Cornish' image (page 72) of his beautiful book 'Scotland's Coast'. I think this is interesting because I'm wondering if the reason I made this was a response to a subconsious memory of his image, or because it's one of the very few opportunities in this area of Hirta to make good compositions? I know for certain that I did not set up to copy - I much prefer to go to a location and find my own interpretation, but sometimes there isn't much of a choice, and certain landscapes dictate 'tripod-hole-syndrome'. So apologies Joe for making a similar shot - it was not my intention :-)

I've wanted to come here for a very long time. It is a fascinating place and my friend Chris had been reading up about the entire history before we got there!

Happy holiday memories (I still have dreams of my scalp sailing away in the claws of a very large bird).