I LOVE the 30x zoom on my new camera. There’s an element of luck in what the autofocus chooses to latch on to but you can take several shots and hopefully one will catch something. The 4600 pixel wide images give plenty of scope for cropping in to find some suitable composition, like this Greylag keeping a wary eye on me.
I knew the Canada Geese would head for the water if I got too near. Having the zoom on maximum flattened the perspective and emphasised the pattern of black and white, like musical notes on a stave.
If I can get such close ups as this in a few minutes just ambling along the lakeside path imagine what I might be able to do if I spent a morning in one of the hides at a wetland reserve.
It would be interesting to try a catch bird behaviour on film – like this juvenile Black-headed Gull diving into the lake, possibly to catch fish or perhaps even small freshwater mussels. A series of images might provide some clues. The camera has a continuous mode for capturing movement.
Water birds are good subjects to experiment with as they’re large and usually not hidden by foliage so when we saw a Carrion Crow in a waterside willow I tried photographing it.
Grey Heron
I was struggling to keep the camera steady when I tried to photograph the Grey Heron preening itself in a willow at the other side of the lake. The image is rather blocky but it would be useful if I was gathering reference for an illustration.
It’s good to see a heron engaged in some kind of activity rather than standing at rest.
Fungi
Not surprisingly after the warm humid weather that we’ve been having there were one or two fungi about. The toadstool with the scaly cap is a relative of the Fly Agaric while the purplish, smooth capped and much eaten into toadstool (below, right) looks to me like one of the Russulas.
But today I’m content to get to know my camera. I’m looking forward to using it to get to know the names of a few more fungi in the autumn.
On Friday I’m looking forward to taking part in Publish 2013;
‘This online conference is for inspiring and equipping both children and adults to discover how writing works in the real world. See how your life experiences, passions, and creativity can become a springboard for becoming a published author or artist!’
My session will be on nature journalling. For more information and to book tickets or to sample the three free preview sessions please follow the link above.
Rummaging through my file drawer for some photographs for an article I was surprised to find that I still have the negatives from a three week course that I took at the Royal College of Art in early spring, 1974 including this old shoe on the strandline taken on a day trip to the south coast.
Looking through them brings back vivid memories of that period, for instance, these contact prints from the still life session include long forgotten details of my everyday life; keyring, pens, bus ticket and anorak label.
Read more in my article Just handle a Pentax in the Retro Tech series in the Currys photography blog.
I HAVE A HABIT of editing out the buses, vans and cars as I draw and I realise that for Horbury High Street I’m giving the wrong impression so, as I draw the Beauty Spa (originally a butcher’s shop) on the right, I add whatever figures happen to be passing at the time. The lad standing with his scooter adds a useful spot of contrast with his red T-shirt.
This is the view from Horbury’s newest café, the Caffé Capri, which the only one where you can sit out watching the world go by. It might just be Horbury on our weekly date with my mum’s shopping but in this weather it feels like being on holiday. Especially when accompanied by a small potato tortilla and a glass of chilled pinot grigio.
THIS MUCH-INITIALLED gritstone boulder sits on top of the Cow at the Cow and Calf Rocks above Ilkley. To get this view I had to perch on another boulder, which wasn’t comfortable enough to encourage me to sit and draw it there and then so I took a photograph and today I’ve been working from that.
When I’m working from photographs I tend to get hooked into drawing every detail. In the real world the level of detail is so overwhelming that a natural editing process inevitably kicks in, enabling me to take more liberties with a scene and to be less literal than I am with the photograph.
A simple solution would have been to include exactly the same amount of detail but to draw the background with a finer pen which might have given more of an impression of aerial perspective. To a certain extent I thickened up the lines around the boulder by reworking them but I didn’t want to overdo that.
Hopefully when I add the watercolour there’ll be more depth in the illustration.
Ilkley Moor; I’m starting this in pen and scanning that version before adding colour for the final illustration. Keeping my options open.
LIKE ME, my pen is a bit of a slow starter after a break. I draw a series of loops to get the ink flowing again.
It’s a cool rainy day, not the sort to encourage me to go out on a research or sketching trip, and it’s a pleasure to be sitting at my desk in my airy studio with the prospect of a whole day devoted to drawing. A rare chance to listen to the radio.
The excuse to draw all day is the main thing that attracted me to illustration as a career, so it’s a shame that so much of my time gets taken up with other tasks.
Making marks with a pen is such a pleasure and after getting the ink back in circulation I start writing ‘The quick brown fox . . .’ then go on to drawing circles,dots, rectangles and crosshatching.
This doodle (right) starts by looking like frogspawn and ends up looking like a multi-cored cable. I’ve scanned it here half as big again so that you can see the inky wobbliness. I think that both those qualities, the inkiness and the wobbly line, are important to me, hopefully giving a softer friendlier feel to my drawings rather than technically brilliant panache. I must be succeeding to the extent that no-one has ever described my work as technically brilliant.
These are all drawn with my ArtPen with the F, fine, drawing nib, filled with Noodler’s El Lawrence (brown) ink.
WE’RE A BIT limited as to where we can take my mum for a coffee now that she’s not as mobile but the ice cream parlour at Whitley has a lot going for it. Yes, it might be the same place that we brought her last week and the week before but the panorama, looking up the Calder valley to the tops of the Pennines is different each time we visit. It has greened up a lot since we were last here. But it changes every few minutes as shadows of clouds move across pasture, wood and moor.
It’s so good to have a short burst of the wide open spaces.
I like watercolours where forms are simplified so why do I find it impossible not to make some attempt to blob in every tree when I’m painting this view? The problem is that I’m so fascinated by detail. As I painted this I could see the blades of the wind turbines turning on the horizon, traffic passing on the motorway 6 miles away, crows bursting from the wood beyond the reservoir as a buzzard flew over . . .
It’s so difficult not to get hooked on the detail!
Some of the mixes, top to bottom rows, of Winsor green (blue shade), permanent sap green, Winsor lemon, cadmium yellow and permanent rose.Bijou watercolour box.
AFTER NINE YEARS of almost daily use my smallest watercolour box has been worn down to the metal on the outside, like a battered old ammunition box.I decided that it was time to treat myself to a new one, although I’m keeping the old one so that I don’t have to keep transferring the new box from one art bag to the other.
The new Winsor & Newton Bijou box has the advantage over my old unbranded version, which is exactly the same size, in the arrangement of the half-pan watercolours; I can get an extra two colours in it.
I decided to go with the selection of eight that comes with the box – scarlet lake, permanent rose, Winsor lemon, Winsor green (blue shade), French ultramarine, yellow ochre, burnt sienna and ivory black – removing the tiny brush from the central section to add four extras; cadmium yellow, permanent sap green, cerulean blue and raw umber.
I’m surprised how well ivory black mixes with other colours (the far right column and the second row from the top in my swatches), for instance it makes an olive green when mixed with cadmium yellow.
Made in France and described as a ‘superior hand finished stove enamelled artists metal box’, it seems that unfortunately the Bijou has recently been discontinued but it’s worth checking your local art shop to see if they’ve still got one in stock.
GEORGE AND SARAH ANN are back from their makeover and it’s been quite a transformation. Robin Taylor has cleaned them, removing as much of the old discoloured varnish as he could without damaging the paintwork. He’s touched up the blemishes (the ‘bullet-wound’ on George’s forehead has healed up nicely) and finally he applied a resin varnish which has restored the richness and depth of the colour.
I’m impressed by this detail of embroidery on the sofa arm in the portrait of Sarah. These are painted photographs so I’m not sure whether this has been meticulously painted or whether it is the original photograph showing through a transparent glaze of oil paint.
Although today we’d see basing a portrait so directly on a photograph as ‘cheating’ at the time this was a way of embracing a new technology. Robin, who was as surprised as we were by how well these battered old paintings have responded to restoration, describes the painting as a superior job.
The paintings are on card with a sheet of wood backing them. I was rather hoping that Robin would find an old document stuffed in the back of the painting. He tells me that he occasionally finds a page from a newspaper added as packing behind a painting in a frame.
The printed label on the back of each portrait states that Geo. Wilkinson & Son of 98 Devonshire Street, Sheffield (two doors down from Westfield Terrace) offer the following services:
Oil Paintings, carefully cleaned, re-lined and restored
Water Colour, and other drawings cleaned and mounted
Engravings, cleaned – mildew and damp stain effectively removed
The Bride in Black
I’m sorry that photographer and picture restorer George Cecil Wilkinson and his oil painter colleague J H Ainley aren’t still around to see how well these portraits are looking a century and a quarter after they produced them.
My mum tells me that George Wilkinson married a cousin of her dad’s and I believe that Ainley too was either a friend or in-law. They were to play a part – a controversial part – in the story of my family at a later date.
I was wondering why Sarah Ann should be wearing black. Had she recently lost a member of her family and gone into mourning. Apparently not; this was before a white wedding became the norm and black was often worn by brides. George and Sarah were married in the mid 1870s but, if they were photographed at the time, it seems that the paintings were produced some years later as the Geo. Wilkinson label reads ‘established 1879’.
I’m taking these two portraits as a starting point, a re-starting point, for my family tree research and I’m going to put together a little biography of George, a Sheffield spring-knife maker, and his wife Sarah Ann who started her working life as a home help aged 11. Sarah, I feel is a key characters in the story of that branch of the family. She was born when the industrial revolution was still at its height in the city and she lived long enough to get caught up in the Sheffield Blitz.
Song of the Slave
She reminds me in this portrait of one of the young women who Mrs Hudson ushers into the consulting room at 221b Baker Street at the start of a baffling case for Sherlock Holmes and Doctor Watson. But this time it’s up to me to observe the details and to attempt to piece to together something of the story of her life.
Is there some significance in the way she is holding her pocket watch?
Sarah’s fingers, my mum tells me, were as chubby as shown as a result of all her domestic duties but she was taught to play the piano by one of the families she worked for. One of the pieces that she learnt was The Song of the Slave. We still have the sheet music. This brings home the historical context; born on Boxing Day 1850, Sarah was learning to play the piano in the days immediately before the American Civil War and the subsequent emancipation of the American slaves.
George doesn’t give much away in his sober Sunday best suit but I’m looking forward to hearing what my costume expert friends can tell me about him.
The candid camera photograph (which I’ve already featured in this diary) of George that is son took around 1900 is more revealing of his background and domestic circumstances.
I MADE this zero calorie bar of chocolate using a recipe from Chipp Walters’ book Create 3D like a Superhero!, an entertaining introduction to the Vue 3D modelling program. A new – and free to use – version Vue Pioneer 11 is now available and having downloaded it I was inspired me to pick up the book and continue where I left a year ago.
My last Vue creation was Chipp’s Dolphin mini-submarine, but I remember struggling with the paint-shop part of the tutorial!