This was just a few days away in what turned out to be rather varied weather that offered decent light on two days and dismal and cold on the other two, as seems to be the met story of this early spring. Nonetheless there are some images here that I’m quite pleased with, and one or two that suggest the big skies that the area’s noted for.
Basically they can speak for themselves, but “post-production” raised the question about colour or monochrome that’s always around when I’m thinking photographs. So why some b&w and others in their natural colours? Reviewing the results I think it has mostly to do with what matters most about the particular image. For some colour is definitely what grabs the eye …. for instance in “22.Holkham Park” it was the colour of the light coming through the structure of the trees that stopped us both in our tracks and demanded that the picture be made. Structure mattered, but colour grabbed the attention. Similarly the Blakeney Sign would be odd in b&w, especially with that sky behind it on a bright sunny day.
But “4.The Project” and “25.Brancaster” both had bright blue skies so why monochrome there? I think maybe because b&w seems to suit the delapidated nature of the boats involved – as well as putting some drama in the sky. “19.Holkham Meals” (yes, that is what the woodland is called!) is essentially about structure, from which the colour almost distracts. That question becomes clearer with the 5 images made on the boardwalk installed at Barton Broad; the colour seems exactly right in the first three, but when it’s taken away in the last two the structure of the picture is revealed much more clearly – at least that’s what I think.
“24 Going Nowhere” is maybe my favourite image of the bunch. I just longed to pick this old boat up and bring it home for a restoration job! Unless someone does so it’ll just rot away under the tree that’s beginning to invade it, and that will be a shame, because it’s a seriously pretty and shapely hull – just look at that lovely wineglass of a transom!