Yorkshire photographer Joe Cornish on the other side of the lens
PUBLISHED: 16:39 07 February 2011 | UPDATED: 20:37 20 February 2013
Yorkshire photographer Joe Cornish finds himself on the other side of the lens, <br/>as Jo Haywood discovers
You dont usually catch a glimpse of a photographer in their own images unless their thumb strays in front of the lens. But a new book focussing on the work of renowned landscape photographer Joe Cornish is the exception that proves the rule.
Working alongside fellow photographer, friend and collaborator Eddie Ephramus over a four-year period, he has created a unique record of his working methods in a variety of locations from Cornwall to the Scottish Highlands with an inevitable detour into his much-loved North Yorkshire in between.
Each of the disparate locations chosen reflects a different aspect of the creative photographic process, explored in further detail through conversations between the two photographers, Joes pictures of the landscapes and Eddies pictures of Joe in action. The photographic media, industry and social scene has long placed an emphasis on equipment and technique, said Joe. Photographic hardware, consumables and now software too are the lifeblood of an industry that thrives on our aspiration to have and use the next, best and most advanced equipment.
Yet technique is not related to having a better camera, but rather a matter of our ability to understand and often override the automated controls the manufacturers obligingly place like obstacles in our creative path.
The genesis of Joe Cornish: A Photographer At Work (20, Argentum) coincided with the transition for both photographers from a traditional, exclusively film-based way of working to one that embraces digital compact cameras, digital SLRs and large format digital cameras.
The two authors explore the opportunities that each of these new tools has opened up, with Joe using his digital compact as a visual sketchbook and Eddie using his to capture on-the-hoof shots for the book.
Joe and his family moved to Great Ayton, a village that sits in the shadow of Roseberry Topping, 17 years ago, and he has not tired of photographing the relatively modest 1,013ft elevation yet. In fact, it gets a chapter all to itself in the new book.
It is a hill of charisma and character, he said, and was one reason we chose to live here when we left London. I understood that to really become a landscape photographer it was necessary to be in the landscape.
This book is a must for anyone with an interest in photography and the artists creative journey from inspiration to finished image. Its a real learning tool and not just for keen amateurs either.
This book explores the processes and challenges in the making of some landscape photographs, said Joe. Eddies photographs, and his written reflections on documenting me at work, describe some of the practical and technical struggles, the artistic tactics and the personal decisions made in this process in a way I could not possibly do myself. The result, for me certainly, is a revelation.