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John Davies
The Beauty of Truth - Post-Industrial Welsh Landscapes
22 April - 26 August 2023
‘During the early 1980’s I began to make pictures from high vantage points to map-out the terrain to see things in context, how things were inter-related with one another both in the rural and the urban landscapes. I was using wide-angle lenses to better capture all these inter-relationships between different elements of structures and land and sky formations, always asking questions about how these landscapes were formed – the myriad of social, political and economic as well as natural forces that shape the landscape.
At the same time, I wanted to make images rich in detail and tonality. Mostly using a 6x9cm format camera and medium speed film (ISO 100) I spent much time experimenting to achieve the best possible results through lens capture and processing the film negatives - the negative as the source for making the quality of print I wanted to achieve. Using a yellow filter over the capture lens to correct the spectral range (closer to what the human eye perceives) of standard B&W film, exposing film to achieve maximum shadow detail. Processing film to achieve a full tonal range and the finest of grain detail by temperature control and developing film for less than half the time recommended by manufacturers.
By the late 1980’s I was mostly making photographs in the built urban environment, so started to use a 5x4in view camera (often with 6x9 cm film back) in order to use the camera shift movements to correct perspective verticals of buildings. I’d find a place I was interested in capturing and then decide where was the best vantage point for light and context for maximum impact. If the view I wanted was from a roof or from a tower block I’d seek permission for access. But I’d always scout around an area first to find existing vantage points to see what I might discover – sometimes hills and sometimes multi-story car parks. Up until 9/11 and the security issues that followed most people were happy to help but became increasingly difficult after that.
All the pictures I made in the exhibition from post industrial Wales were made from natural hills or bridges freely available except Taffs Well Quarry where I risked trespassing laws.’
John Davies
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