Boston under leaden skies

click photo to enlarge
A recent walk around Boston, Lincolnshire with my camera coincided with leaden skies and drizzle. But, as someone who believes that there is no such thing as bad weather for photography, we persevered. Today's photograph was taken from the bridge by the Grand Sluice, the point at which the tidal waters of the River Witham are prevented from extending inland. The key feature of the shot is the tall tower of St Botolph piercing the sky and reflecting in the water as it has done for the past several hundred years

This medieval structure - the tallest parish church tower in the country that isn't a spire - looms over the centre of Boston much as it always must have done. No other buildings in the town can compete with its height except for the tall slab that is the Pilgrim Hospital, and that is sufficiently far away that the two can only be seen together from a great distance. It is a a great shame that more of our country's big medieval churches don't enjoy the physical prominence that they once did and that often they are dwarfed by towers of varying quality that have been erected with little thought for their venerable neighbours.

The dark sky and low light levels gave my photograph a quite monochrome appearance, with even the green of the grass, that had been spurred on by recent sun and warmth, not managing to pierce the drabness of the day. It also obscured the details along the river banks that allow the photograph to be dated, and were it not for the "bowstring" bridge in the centre distance, the shot could conceivably been taken any year in the last one hundred and fifty.

photograph and text © Tony Boughen

Photo Title: St Botolph and the River Witham seen from the Grand Sluice Bridge, Boston
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 14mm (28mm - 35mm equiv.)
F No: f6.3
Shutter Speed: 1/640 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Town Bridge, Boston, Lincolnshire

click photo to enlarge
Today's photograph was taken, like quite a few of mine, on a shopping trip. A pocketable camera is a boon to a busy photographer, and I value the diminutive size and great quality of the Sony RX100: it is with me much of the time that I'm engaged on business other than taking photographs. Like many photographers I become something of a fisherman if I see a potential shot that I'm unable to capture with a camera, and the magnitude of the missed opportunity becomes ever greater with each memory of what might have been, so the RX100 dispels the regret associated with a missed shot.

The photograph above was taken from St Botolph's Footbridge looking down the River Witham towards the Town Bridge. I've taken several from the bridge depicted looking towards where I took this shot because behind my left shoulder is the tall medieval tower of the church of St Botolph, known locally as "The Stump". The view isn't a particularly scenic townscape. What prompted me to take the shot was the low afternoon light that was illuminating a few buildings. This, along with the reflections on the water and the deep shadows lifted the view and put me in mind of Dutch and English oil paintings from the seventeenth and eighteenth centuries of such subjects

photograph and text © Tony Boughen

Photo Title: January Afternoon - Town Bridge, Boston Lincolnshire
Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 16.6mm (45mm - 35mm equiv.)
F No: f4
Shutter Speed: 1/200
ISO: 125
Exposure Compensation:  -0.3 EV
Image Stabilisation: On

Under the bridge

click photo to enlarge
It is a children's story that I blame for my fascination with bridges; specifically, "The Three Billy Goats Gruff". When I first heard about them going "trip-trap, trip-trap over the rickety bridge" I began to look at bridges in a new light, as structures with a mysterious underneath as well as a very useful top. The small town where I was raised has a rocky river passing through it so footbridges and road bridges, old and new were well-known to me. I never saw any trolls beneath them but I discovered that the water under a bridge was a good place to spot trout, and the underside of the bridge itself frequently held nooks and crannies where dippers would sometimes build their nests.

This interest in bridges has been life-long and this blog contains many photographs of these interesting structures. Today's photograph shows the underside of a bridge on the River Witham at Boston, Lincolnshire. It is old, rarely used, and supported by both steel and timber, though the latter, as you can see, is somewhat the worse for wear. I liked the bold, semi-abstract shapes that the dark structure and its reflection made against the water - it reminded me of the paintings of Franz Kline.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 63mm (126mm - 35mm equiv.)
F No: f5.5
Shutter Speed: 1/640 sec
ISO:200
Exposure Compensation: 0
Image Stabilisation: On

Photographic aspect ratios

click photo to enlarge
The world wide web, it seems to me, has increased the amount of confrontation and stridency in photography. Now, don't get me wrong, I'm not suggesting that this outweighs the co-operation and learning that the online world confers on our hobby and profession. However, the early years of my forty odd with camera in hand certainly didn't feature the vituperation I regularly see today. Photography is not alone in this of course, and it's possibly the opportunity to adopt extreme postures and language anonymously that encourages the outpourings of bile.

To stick with photography, I continue to be amazed about the subjects on which people have unwavering views that they broadcast and defend with boorish language. Brand loyalty, sensor size, fixed lenses versus zoom, black and white versus colour, the list is endless when it comes to the subjects that some photographers can get exercised about. I've even seen people vociferously arguing the merits of one aspect ratio over another. Now when it comes to this subject I play the field. I'll use 4:3, 3:2, 16:9 and 1:1 as the subject requires. Sometimes I'll select the aspect ration before taking the shot, often I'll take it with the largest capture possible but with a different aspect ratio in mind, and frequently I'll crop post-capture. And the idea that one or another is intrinsically "best" or "better" than another seems to me absurd: all are possible, so choose the most appropriate. I've even been known - whisper it quietly - to choose a non-standard aspect ratio where it seemed to fit the subject better.

Today's photograph was one that I shot at 4:3 thinking that it might work well at 16:9. That turned out to be the case and is in fact the best aspect ratio for this image. It shows some of the inshore fishing boats on the River Witham at Boston, Lincolnshire, with in the distance, the tall tower of the medieval church of St Botolph.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 34mm (68mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/1600 sec
ISO:200
Exposure Compensation: -0.3
Image Stabilisation: On

The essential compositional element

click photo to enlarge
Photographic compositions can be constructed in many ways, some orthodox and some not so usual. Down the years I have come to realise that some compositions depend on a single element to complete it or to connect the disparate parts. It can be a leaf, a reflected figure, an empty can, or a tiny group of people whose compositional significance outweighs their size.

On a recent walk by the River Witham in Boston, Lincolnshire, I took a couple of photographs of some old hulks, wooden boats of early twentieth century vintage that have been left to rot on the river banks, their mud-covered forms inundated daily by the tides and exposed at low water. I couldn't compose a satisfactory photograph of the complete boat that features in today's photograph but I liked the bow detail and thought that, together with the gull, it would make a composition. But, the space between the two elements was too great and, to my mind, the whole did not bind together satisfactorily. However, when I changed my position the gull's footprints leading to its position at the water's edge were more strongly emphasised and they created an essential element that, for me, made the composition work much better.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 52mm (104mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/800 sec
ISO:200
Exposure Compensation: -0.3
Image Stabilisation: On

Photographing water reflections

click photo to enlarge
"It looks like it's swimming in paint", said my wife, when she saw this photograph on the screen of my computer. And so it does. Yet, when I took this shot of the cygnet (not far off adulthood) on the canalised stretch of the River Witham in the centre of Lincoln, my eye saw little of these striking colours and patterns. The wildly distorted lines of the river-bank buildings and the blue sky were lost in the flickering sheen of the water's surface. However, the photographic experience that I've gathered down the years told me that the camera would present the water in a way that made a bold, colourful, semi-abstract backdrop for the swimming bird.

In the past I've photographed reflected branches, clouds, tree trunks and even steel fences. The way that the shutter freezes movement that the eye doesn't see, or echoes the tangible intangibly, is something that I like, and I make a point of looking for good water reflections whenever I'm out and about with the camera.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 66mm (99mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/125 sec
ISO:100
Exposure Compensation: 0.33 EV
Image Stabilisation: On

Boston's Stump

click photo to enlarge
The recent collision in London between a helicopter and a construction crane at the top of a new tower block raised questions in the press about the wisdom and reasons for erecting such tall buildings. It seems to me that you can argue the wisdom of it long into the night, but the reasons are three-fold and what they have always been: facilitating a technology (such as telecoms), maximising the value of land, and prestige.

Today's photographs show the 272 feet tall tower of the medieval church of St Botolph in Boston, Lincolnshire, a late example of the Gothic builders' art, made of Barnack stone. Its absolute height, its relative height (the length of the church is only ten feet more) and its appearance when seen from afar quickly earned it the name of "The Stump" (though the name may be an example of the English love of irony).

The tower was begun in 1425-30 and completed in 1510-20. It is likely that a spire was to have begun at the level of the parapet above the pair of tall windows (which were probably intended to be the belfry stage). This would have been the conventional finish to a large Lincolnshire church. However, the church authorities had different ideas and they simply kept building upwards, adding a single, transomed window for the belfry, then topping it all off with pinnacles and a large, open lantern supported by flying buttresses. Why was it built so high? I can only think that prestige and the desire to make a big, bold statement lay behind the decision. It could, I suppose, be argued that having the belfry higher gave the sound of the bells greater reach. Such height was certainly a risk because the deep soils of the Fens yield no bedrock to the builder and smaller, nearby towers such as Pinchbeck and Surfleet testify to how they can quickly acquire a disconcerting tilt. The tower is undoubtedly impressive, and parts of it, particularly the lantern are beautiful. In total, however, it doesn't work: the height is too great, the stages don't complement each other and it is not visually integrated with the nave and chancel. But, as a beacon for sailors on the storm-tossed sea of The Wash, searching for the mouth of the River Witham and safe haven, it must have been a godsend!

The smaller photograph, taken from the town bridge, is the classic view of the tower. My shots were taken when hoar frost cloaked the trees, ice was just beginning to form on the River Witham, and shopping was the main thing on our minds. A bright, clear January day is not to be spurned, however, and my compact camera proved its worth once more.

photograph and text © Tony Boughen

Photo 1
Camera: LX3
Mode: Aperture Priority
Focal Length: 9.3mm (44mm - 35mm equiv.)
F No: f5
Shutter Speed: 1/800
ISO: 80
Exposure Compensation:  -0.33 EV
Image Stabilisation: On 

River Witham wharf semi-abstract

click photo to enlarge
I do quite a bit of my photography as an incidental activity to my everyday chores. A camera always goes shopping with us, and when I took the car into Boston, Lincolnshire, recently for the garage to do a small job for me, guess what? Yes, I took my camera. It was the compact and it accompanied me on a walk along the banks of the River Witham opposite the town's small docks.

I've travelled this route on the water on one occasion and walked the bankside a couple of times. The best shot I've managed from this part of the town is this one of a mechanical grab and scrap metal by the riverside. On my walk the other day I took a few shots of the cranes and buildings by the dockside, a couple of boats that were tied up on the river, some navigation lights and an old pier. None of them are anything special.

However, I've had it in mind to do a few more semi-abstract images because I haven't done much in the way of that kind of photograph recently. The location didn't seem too promising, and with 60mm (35mm equiv.) being the maximum length of the lens on my camera a couple of potential photographs that I did spot were out of range. I had just about given up on the semi-abstract idea when I thought I'd scramble down the riverbank and look under a decrepit wharf. Bingo! There, in the deep shadows of the supports, old tyres and timber flooring above, was a sunlit reflection of the sky and the buildings on the opposite bank, all slightly distressed by the gentle waves of high tide. The scene had a pleasing element of confusion, deep colours and strong contrasts, more than I could reasonably expect in January, I thought, but perfect for a semi-abstract composition.

photograph and text © Tony Boughen

Camera: LX3
Mode: Aperture Priority
Focal Length: 10.2mm (48mm - 35mm equiv.)
F No: f4
Shutter Speed: 1/200
ISO: 80
Exposure Compensation:  -1.0 EV
Image Stabilisation: On

Look behind you

click photos to enlarge
A casual observer, watching me walk down the street or through the countryside may think that I'm paranoid, that I imagine I'm being followed, that I have a persecution complex or that I think everyone is out to get me. Why? Well, the fact is, I  regularly stop and look behind. The more perceptive observer would notice the camera or at least the camera bag, and would work out that I'm looking to see if there's a shot in the opposite direction to the one in which I'm walking.

I take most of my photographs on walks, and I learned fairly early in my photographic development that we tend to see shots ahead and to the side of us, but often forget to look for those that are behind. It's now November and we've reached the time of year when, if you are walking with the low sun behind and floodlighting all before you, there may well be a contre jour shot to be found by turning round towards the sun. Yesterday's blog post illustrates that quite well. Today's photographs show that this habit of looking behind you is also helpful if the sun is from the side because it reveals a composition that you might have missed due to your attention being fixed on the direction in which you were walking.

Both shots show part of the River Witham in Boston, Lincolnshire, that is known as The Haven, a stretch a couple of miles long where inshore fishing boats berth. I took the small photograph first, using the moored boats as foreground interest and the river bank as a line through the image leading to the short curved terrace of houses. On this photograph I was keen to minimise the amount of sky and to include the figure on the left. My second shot was taken when we'd walked further downstream to a point past the most distant boat in the small photograph and I looked behind me. This view - the main photograph - is dominated by the tall tower of the church of St Botolph with its lantern top, and that meant more sky needed to be included. But once again the same group of boats is important, and with the curve of the river and the buildings by the roadside, provides the main subject of the shot. However, though the subject remains the same, the differing viewpoints make for quite different images.

photograph and text © Tony Boughen

Photo 1
Camera: Canon
Mode: Aperture Priority
Focal Length: 75mm
F No: f7.1
Shutter Speed: 1/200
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Abstraction and the Pre-Raphaelites

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An exhibition of the work of the Pre-Raphaelite painters has recently opened at Tate Britain. It seeks to show the artists, in the words of The Guardian newspaper's arts correspondent, as "Britain's first modern art movement with rebellious ideas and revolutionary methods way ahead of their time." It seems to me that every few decades the Pre-Raphaelites are re-discovered, re-interpreted and presented anew to a public who have always been aware of them to a greater or lesser degree. And with each fresh look a different aspect of their achievement is highlighted. I've been to exhibitions that stress their medievalising, the way they were all-embracing (producing craft and literature as well as fine art), and that concentrated on their depiction of nature

It was the latter thread that came to mind when I reviewed my photographs of the surface of the River Witham where it runs through the Lincolnshire town of Grantham. Like many slow moving, lowland rivers,the Witham has a lot of weed growing in its main course. The long strands writhe in the flow, either as single strands or as bunches of aquatic tresses. The banks have lush grasses and reeds with overhanging trees casting dappled shade - willow, alder, black poplar and more. In places one is transported to the scene of Millais' depiction of the drowning Ophelia. The artist's eye lovingly shows the flowers, waterside plants and aquatic weeds of the Hogsmill River, a tributary of the River Thames, and one can easily get lost in the natural detail that his brush lingered over.

However, in my photograph of the River Witham I wasn't looking for a literal interpretation of the scene so much as trying to create a semi-abstract image that treats the reflections and weeds as lines, patches of colour and contrasting tones. It's an approach that in painting had to wait for Impressionism and later art movements though the seeds for the style were sown by the likes of Turner, Cotman and others. One of the things I like about photography is the way the camera can be used as a device to show the world in a literal way but can also represent it with an element of abstraction. It's a while since I've done a shot like this, so when I saw this interesting piece of water and weed below some overhanging trees my camera went straight to my eye.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 238mm
F No: f7.1
Shutter Speed: 1/250 sec
ISO: 1600
Exposure Compensation:  -0.67 EV
Image Stabilisation: On

Sepia, Sutcliffe and boats

click photo to enlarge

Every now and then I come over all Frank Meadow Sutcliffe. I blame this affliction on the book of his photographs that I was given on leaving a job many years ago. The most recent occasion when I was struck by the condition was as we walked by The Haven. This is the tidal section section of the River Witham below the Grand Sluice, that serves as both a mooring place and quay for pleasure boats and fishing vessels, and links with the dock of the Port of Boston. The usual varied selection of craft were tied up along the winding waterway, and as the river was low, a selection of ancient, rotting hulks, stained green and brown with weed and mud, were also visible. It was the latter that made me think of the great Whitby photographer, because the shape and style of some of them reminded me of the craft that fill the photographs he took of that town's harbour. Some of them may even have plied the coastal waters during his lifetime.

Among the well-kept yachts and utilitarian inshore fishing boats I saw a few of, what I call, "hobby boats". By that I mean craft that are past their best and have been bought by an enthusiast as a "project". Such vessels can often be identified by their paintwork (colourful), name (fanciful), lettering (amateurish), the slabs of marine ply that replace original timber, and the clutter of tools and other bits and pieces that litter the deck. I first became acquainted with such craft when I lived in Lancashire. The River Wyre and Skippool Creek near Poulton le Fylde had a few dozen such boats. The biggest was called "Good Hope". My wife and I called it "No Hope" because the speed of renovation never kept pace with the speed of decay.

The little group of craft in today's photograph look like hobby boats. Interestingly most of them are not Boston registrations, but are from nearby King's Lynn. Their styles and arrangement brought Sutcliffe to mind and I took my photograph. Later, back at the computer, I compared a sepia treatment with both colour and black and white versions and decided I preferred it. Sepia tone is often used in photography today to suggest the past, but I think it has merit of itself. The warm cast that it gives to an image is different from the colder tones of black and white and lends a different feel to a photograph.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 84mm
F No: 10
Shutter Speed: 1/80
ISO: 1000
Exposure Compensation: -0.67 EV
Image Stabilisation: On

Boston fishing boat

click photo to enlarge

One of my recent, self-imposed goals was to shoot more contre jour images. On a recent morning I managed to do just that on a visit to Boston in Lincolnshire. A small fleet of diminutive fishing boats operates out of the town, sailing down the River Witham into The Wash and nearby North Sea waters to search for their quarry. They berth alongside a small quay on London Road, not too far from the centre of the ancient settlement. Opposite their resting place is the Port of Boston with its single dock, large sheds, railway line, cranes and container lift. My photograph was taken from the quay as one of the boats came in on the tide. The railway swing bridge that has to open for each passing boat can be seen in the background.

One of the decisions you have to make when shooting into the sun is what to do about that very strong disc of light. There are three possibilities: leave it just out of frame, include it, or place it behind an object in the shot. On this image I chose the latter course, moving until the sun was behind a crane. The out-of-camera file had much more contrast than my final image. Shooting in RAW allowed me to recover a lot of the detail in the sky and elsewhere, but I tried not to reveal so much that the photograph lost its feeling of morning light. I was really pleased that the shafts of sunlight were hitting the leaves of the trees on the left of the image. It gave them a sufficiently strong presence to balance the "visual weight" of the boat and bridge on the right of the composition.

For another photograph of the port area of Boston see this post.

photograph and text (c) T. Boughen

Things that bug me No. 137

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Each time I go into the town of Boston in Lincolnshire, and cross the Town Bridge over the River Witham, I gaze upstream at the very tall tower of the medieval church of St Botolph. The view from this location is one of the classic views of this building, and I usually take the opportunity to add to my stock of images. The prospect from the bridge changes with the seasons, the weather, the clouds, the state of the tide, etc., so I often come away with a photograph that is in some way different from all the others I've taken. Compare this example, with today's post.

Of course, a shot of the same scene from the same position has much that is the same too. And this particular view has one detail that really bugs me, a feature that only causes me concern when the sun is shining. Can you guess what it is? In fact, it's the writing on the side of the Britannia pub that advertises beer. "Batemans Good Honest Ales" is what it says, though it isn't always legible. That's because all the letters are mounted slightly away from the wall surface and each throws a shadow so that in a photograph it causes the words to appear blurred. And yes, it bugs me. My eyes are drawn to it. And now that I've mentioned it yours will be too! Perhaps I should have kept quiet.

photograph & text (c) T. Boughen

Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 6.8mm (32mm/35mm equiv.)
F No: f4
Shutter Speed: 1/1000
ISO: 80
Exposure Compensation: -0.66 EV
Image Stabilisation: On

Blurred reality

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The critic John Berger writes that the invention of the camera "showed that the notion of time passing was inseparable from the experience of the visual". In his view the invention and use of perspective in painting "proposed to the spectator that he was the unique centre of the world", but the camera demonstrated that there was no centre, and that "what you saw was relative to your position in time and space". He goes on to note that the invention of the camera changed the way men saw, and " the visible no longer presented itself to man in order to be seen", rather it being "in continual flux, became fugitive." Much late nineteenth century and twentieth century art is built on this idea.

I was reflecting on this during the processing of the photograph above. The outing on which it was taken included a visit to a gallery where I saw paintings of such depressing banality that you wondered whether the artist was familiar with any of the notable practitioners of the past two centuries. If he had been he surely couldn't have displayed his own work. My image shows the reflection of a railway bridge that crosses the River Witham near the Grand Sluice in Boston, Lincolnshire. The bold shapes and the clouded sky attracted my eye, and I decided to shoot it with a slow shutter speed to blur the water. The resulting image reminded me a little of the Abstract Expressionist paintings of Franz Kline that feature strong, dynamic and spontaneous shapes against lighter backgrounds. Whatever the association it's a strong contrast to the style (and inspiration) of my preceding two blog images!

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 31mm (62mm/35mm equiv.)
F No: f9.0
Shutter Speed: 1/10
ISO: 100
Exposure Compensation: 0 EV
Image Stabilisation: Off

A Boston view

click photo to enlarge

In the Middle Ages the medieval coastline made the town of Boston, Lincolnshire, much closer to the sea. It thrived as a trans-shipment point for goods going up the River Witham to the city of Lincoln. In 1205 the port was second only to London in the levy that it paid, and by 1300 it was paying a third more than the capital. The Hanseatic League had a base there in the fourteenth century, as did the Greyfriars, Blackfriars, Austin Friars and Carmelites. Decline in the sixteenth century was followed by expansion in the 1700s, and steady growth in the 1800s.

Much of Boston's past can be seen in the town today. The medieval street pattern remains, as do timber-framed and stone medieval buildings. A fine collection of eighteenth century houses, an Assembly Rooms, and warehouses can also be seen. By the River Witham are interesting nineteenth century buildings, including the old Public Warehouse (now flats) - the tall white building in this photograph. And, towering over it all, is the the magnificent, mainly fourteenth century, church of St Botolph. The tower, at 272 feet, is the tallest in England (though there are taller spires), and the building, almost of cathedral proportions, is one of the biggest parish churches in the country.

Boston's past, together with its present status as a busy market town and a regional centre of south Lincolnshire, means that the photographer has no difficulty in finding subjects to frame with the camera. This view of the River Witham, taken from the bridge on John Adams Way, shows the back of the High Street to the left, a section of river frontage, and St Botolph's tower in the background. I have photographed it before, but the overcast sky with a little sun breaking through gave a nice contrast to the scene, and this is my best image of this view to date.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 42mm (84mm/35mm equiv.)
F No: f7.1
Shutter Speed: 1/320
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: Off