Southwold and the weather

click photo to enlarge

"The English winter - ending in July, to recommence in August"
Lord Byron (1788-1824), English poet

Given that he devoted so much of his life to his poetry, his love affairs, travel in the Mediterranean region and revolutionary activities, it's a wonder that Byron noticed the English weather. Perhaps the poet in him drew his attention to it and his experience of hot, sunny climes caused him to lament its relative coolness. As a summary of England's weather, however, he was woefully inaccurate, though today's photograph might seem to suggest otherwise.

It shows the Suffolk coastal town of Southwold, renowned as a watering hole of the English middle classes. I took the shot on August 2nd on a day that was dull, cool, windy, showery, warm (in spells) and sunny. English days often involve multiple kinds of weather and this early August day was one such. What it wasn't was wintry. In fact, I don't imagine that Byron's words were meant to be taken literally. Rather, the intention would have been humorous, making a joke of England's weather as so many do. It reminds me of the remark by Michael Flanders, the late English actor and singer: "It's spring in England. I missed it last year. I was in the bathroom."Many have seen the weather as an influence on the character of the English. The Victorian writer, Charles Kingsley, said in his poem "Ode to the North-East Wind" (1858), " 'Tis the hard grey weather breeds hard English men." Whether that be true or not, shortly after I'd taken this photograph I noted several men and women swimming in the dark grey sea, to be joined by quite a few more as the clouds were whisked away on the wind to be be replaced by more prolonged sun.

I took my shot from Southwold's pier. This is one of the few around our coast that are not Victorian or Edwardian constructions. Consequently it has less of the ornate, decorative metal work characteristic of the older structures, little by way of brash colour, and is altogether a more tasteful, sedate sort of pier, eminently suitable for its location. Some of the town's beach huts can be seen lining the promenade. The uniformly white and blue row to the right are available for hire: The multicoloured collection nearer the centre are some of the many privately owned examples, each loudly (though sometimes subtly) asserting its individuality

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 100mm
F No: f8
Shutter Speed: 1/1000 sec
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Adnams Store, Southwold

 click photo to enlarge

I'm always pleased to see new and "different" architecture appearing in our towns. It's not unusual to come across it in cities, but towns (and villages) tend to be more conservative, and you find fewer buildings built in a determinedly modern style: too often they are a pastiche of an old or local vernacular style. Sometimes it can be absolutely right to make a new building fit in with its venerable neighbours. But all too frequently these "old modern" structures are safe, staid and completely forgettable.

Consequently I was glad to come across this gleaming shed-cum-Nissen hut in Southwold on my recent visit to the town. It houses a store selling wines and beers as well as items for the kitchen. Adnams are local brewers with something of a reputation for modern, green buildings as well as old public houses (pubs), so it comes as no surprise to see that they have built something that is quite different to anything else in this sedate seaside town.

On the whole I like it. It is simple, bright, stylish and seems to do its job well. I like the absence of gutters and drainpipes, and the way the roof becomes the walls with little overlap or intervening fixtures. When I looked at that I thought I'd like to see it in heavy rain! In fact, I'd like to see the building on an overcast day with featureless stratus above: it must look quite different from how it appears under a flawless blue sky. The bit I'm not so keen on is the area around it. Those randomly placed pieces of wood set into the gritted tarmac are clearly meant to be quirky counterpoints to the ordered pieces on the facade and side windows (I think). I'd have preferred a something little more rectilinear, without the timber.

When it came to photographing the building the semi-abstraction of the side appealed to me most, though if I go back I'll try a shot from very low down with verticals that converge more than they do in the smaller image.

photograph and text (c) T. Boughen

(Main photo)
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 15mm (30mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/500
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Silly brand names and pier views

click photo to enlarge

The other day I was idly thinking of silly brand names for ranges of clothing and I came up with two short lists. The first group of names are deliberately brief and not so sweet - DIVOT, THUNK, GAWK, CRUD, and SWAT. The second set are quirky - SYNONYM, OFF THE WALL, LEFT FIELD, HIGH HEAVEN and FIG LEAF. I think some of these names could definitely make it out there in the market place: they're certainly no worse than some of the ludicrous examples I've seen printed across the bosoms, backs and rear ends of shoppers on the local high streets.

My current holder of the silliest clothing brand name is, I think, BENCH, although I'm no expert on this subject and there are doubtless dafter ones to be found. It took me a while to work out that this was a brand name at all, so large were the letters on some of the items of clothing, and initially I thought the wearers were employed by a company of that name. And in a way they were - to advertise on their behalf, but for zero wages, for which they're likely to have paid a price premium! It wasn't always like this. Brand names used to be discreet or completely invisible, and drew their inspiration from the manufacturer's name(s), the place they were made, or latterly by the use of a simple proper noun. Today names are "designed" by companies that specialise in branding, though ultimately they do little more than I did and simply pluck a few words from a thesaurus. Moreover, we've moved on from nouns into other parts of speech. In fact it was this that prompted today's reflection. I was wondering what title to give to this post and the phrase "view from" popped into my head. Then I remembered that I've seen sports wear (or at least sporty leisure wear) with that brand name. Who on earth thought up "VIEW FROM" as a brand name? And why did it get any farther than that person's first utterance of it? Perhaps because in a world where a book store can be called Amazon, a bank can be called Egg, a new video-on-demand platform can be called Qriocity (it deserves to fail for its name alone), and a re-arranged expletive (F.C.U.K.) can be used as a brand name to sell clothes, then clearly anything goes.

Today's photographs show Southwold Pier viewed from the beach, and Southwold and the area of beach from which I took the first shot, seen from the pier. The first photograph was taken around midday, and the second at about 10.00a.m. Piers are good vantage points for shots of seaside towns, and of course, make good subjects in themselves. Here, to illustrate that point, and for comparison, are two "views from" featuring Blackpool's Victorian North Pier - the Tower seen from the pier, and the pier seen from the promenade.

photograph and text (c) T. Boughen

Photo 1 (Photo 2)
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 22mm (44mm/35mm equiv.) (36mm (72mm/35mm equiv.))
F No: f5.6 (5.3)
Shutter Speed: 1/1250
ISO: 100 (100)
Exposure Compensation: -0.7 (-1.0) EV
Image Stabilisation: On

A kaleidoscope of beach huts

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"Beach huts have become something of a photographic cliche for UK-based snappers." Or so I said in April 2009 when I posted a photograph of these brightly painted seaside cabins at Wells-next-the-Sea, Norfolk. Mind you, when I wrote that sentence I'd already posted photographs of beach huts at Fleetwood, Lancashire, and Mablethorpe, Lincolnshire. And I subsequently posted one from Cromer, Norfolk, and a different shot from Wells-next-the-Sea. Today I've got three shots of beach huts from Southwold, so I guess you could say that if they are a photographic cliche then it's one I'm happy to indulge in.

As I walked past these immaculate daytime residences in Suffolk (there are 300) I idly wondered whether there is a collective noun for them. I can't find one so I suggest "a spectrum of beach huts", "a variegation of beach huts", or better still perhaps, a kaleidoscope of beach huts". We came upon these long lines on promenade and sand fairly early in the day, so people weren't very numerous. Moreover the sky was bluer than we had any right to expect in mid-September, and these two facts together made my photography easier.

As well as being painted in each owners' chosen colour scheme most of the beach huts have names. Often they are humorous (Pete's Palace, Aunty Bong Bong, Jabba the Hut, OOZUTIZIT, ShoreThing), frequently they have a touch of the idyllic (Shangri-La, Sunny Retreat), and some just make you wonder (why "Shepherdess Rest")? However, the rightmost part of the group that are shown in the top and bottom images (the same set taken from different angles) were unusual in having names that follow a theme. In these collective action had triumphed over the rampant individualism that usually characterises these small dwellings. Here are some of the names - can you work out the theme? Victoria, Albert, Elizabeth, Queenie, Margaret Rose. It wasn't difficult was it!?

photographs and text (c) T. Boughen

(Image 1)
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 22mm (44mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/1000 seconds
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Contre jour pier

click photo to enlarge

Contre jour means, literally, "against the day", but a better English translation is "against the light". Today's photograph is another of this kind of shot taken around the same time as yesterday's, further down the pier at Southwold. At one time in my photography of recent years I seemed to be taking these almost daily, perhaps seduced by the drama that is injected into an image when your lens moves near to the sun (see examples here, here, here and here). Today's photograph, however, whilst it has more impact than the same shot with the sun behind me would have had, is rather more subdued than the photographs I used to regularly turn out. Perhaps that's down to the clear sky, sharp details and shadows, calm sea and relatively few people.

Black and white is often used as a means of emphasising the powerful qualities of contre jour. Nineteenth century photographers noticed this effect almost immediately, and early cinema exploited it too, although in motion pictures it was the German Expressionists, such as Fritz Lang, and the Hollywood "film noir" of the 1940s and 1950s who took it to its heights. It's something I mean to do more of as autumn progresses and the sun is lower in the sky.

photograph and text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 22mm (44mm/35mm equiv.)
F No: f5
Shutter Speed: 1/2500
ISO: 100
Exposure Compensation: -0.7 EV
Image Stabilisation: On

Southwold Pier

click photo to enlarge

As you point your camera nearer to the sun the dramatic quality of your image increases - and the colour drains away. That thought ocurred to me when I reviewed this photograph on my computer. But then I thought, hang on a moment, Southwold Pier is pretty devoid of colour anyway, so this image doesn't make that point very well.

I used to take more contre jour shots than I do now. I think it is my change of location to rural Lincolnshire: the subjects that work with this approach are now harder to find. However, on a recent visit to Suffolk I did take a few against the light, of which this is one. I kept the sun's brightness out of the shot - you can just see the edge of it at the top right of the frame.

I chose this shot for today because it happens to illustrate a few of the compositional devices I listed yesterday. Framing, using the posts and pier name; contrast by shooting contre jour; leading lines (the railings and pier itself); repetition of forms; balanced asymmetry (the sweep of the near pier to the left, the thrust of the main pier and pier name to the right); and a single subject. But, as I say above, it doesn't make my point about colours dying away as you point the lens closer to a strong light source.

Southwold Pier opened for business in 1900. That being the case you'd expect it to have large, ornate pavilions, substantial benches, decorative railings, and lashings of bright paint to emphasise that a pier is all about FUN. However there are a couple of reasons why the pier is a sober and studied essay in white, black and grey (the primrose yellow landward building excepted). The first is because, as with most piers, it has been knocked about a bit and very little remains from the early days. In 1934 a storm swept away the T-shaped landing stage at the end of its 810 feet (245m) length. Then, during the Second World War, like many east and south coast piers it was cut to prevent it being used by invasion ships. A further indignity was visited on it when it was struck by a drifting mine that exploded taking down another section. Repairs in 1948 proved to be insufficiently robust to prevent a 1955 storm cutting it in half, and in a storm of 1979 it was reduced to a stump a mere 150 feet (45.4m) long. However, in 1999 a fund raising campaign secured enough money to rebuild it, and in 2001 it was re-opened in the form we see today. That brings me to the second reason for its sober colours and undemonstrative architecture. Southwold is one of the English seaside towns without an "amusement" area. The place has a reputation as a middle-class playground, and I imagine that this is not unconnected with the pier's appearance and its difference from most other English piers.

photograph and text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 16mm (32mm/35mm equiv.)
F No: f5
Shutter Speed: 1/1600
ISO: 100
Exposure Compensation: -0.7 EV
Image Stabilisation: On