"I love
the landscape rather than photography"
ALL those who thought black and
white photography was dull and uninteresting changed
their mind after seeing the work of Mark Lockett at the
Department of Fine Arts, Panjab University, sometime
back. The breathtaking, monochrome landscapes of the west
coast of Ireland were vivid. Mark Lockett, 42, belongs to
Shropshire, UK. He is a professional agricultural
economist who runs his own dairy farm. The rigours of
farm life have not stifled the creative artist in him. In
the beginning he tried his hand at painting, but around
1980 he found his métier landscape photography.
In 1990, he had the first place in British Salon of
Contemporary Photography. This was followed by Out of the
Land, a joint exhibition with calligrapher and letter
carver, John Neilson. Mark held his first solo exhibition
at Chester City Arts Festival (1996). He was in India
with Irene, a friend, at the invitation of the Department
of Fine Arts, Panjab University. Marks exhibition,
On the Edge, attracted many viewers when it was held in
the city last month. He also screened some of his slides
in the seminar room of the Department of Fine Arts. Kuldip Dhiman met him for an exclusive interview, in
which Mark talked of his work and life. Excerpts:
Why did you decide to
capture the wild land and western shores of Britain,
Wales and Ireland on film?
I was inspired by the
western reaches of the British Isles, where the land
itself is very old, and the weather often harsh and
unpredictable. I moved on to photography because I
started noticing the changes in the landscape around me.
The rapid change in lighting conditions and weather began
to interest me and I thought I would try and capture it
on film. My photography really started from the love of
the landscape rather than the love of the photographic
medium. I was never an active member of a photographic
society.
Did you attend a course
in photography?
No, I have never attended
a photographic course in my life. I am totally self
taught. I learnt by looking at other work and reading
books. I guess I picked information that I really needed,
the rest I ignored.
Didnt you have
any mentors?
No, nothing like that. I
was totally isolated basically. I actually developed my
own course. I bought the camera with no real intention of
becoming very interested in it. I just thought I will see
what comes out and when I saw it I said, oh! these are
really good. I must do more. It just developed from
there. After about twelve months I became satisfied with
the quality of the prints I was getting back. Looking at
some of the books Id bought I noticed black and
white work.I thought I would have a go at it myself. I
bought a very basic darkroom kit. I was impressed by the
results. I thought this was giving me far more scope, and
range than what Id got from the general processing
labs. So it developed from there and I became more and
more interested in the darkroom side of photography.
A landscape
photographer would normally opt for colour, but you chose
monochrome. Why is that so?
Thats possibly
because the way I am. I tend to be somebody who goes
against the prevalent trend.At that time it was very
unusual, but today black and white is becoming very
popular in our country.
Were you influenced by
any other photographer?
Yes, by the American
photographers,Ansai Adams and Weston. The work of Adams
obviously impressed me tremendously as did the quality of
the reproduction in the books. I would look at the
photographs in the books and wonder how on earth they
could be so wonderful.When you look at what is the best,
you actually try to reach that stage.
Do you meticulously
plan your shoots?
I never plan a trip. If
something catches my eye, I take it. If you read
magazines or books they will tell you to find your
location, study the light, and decide what you are going
to take. I am totally unlike that. I will just go for a
walk, I will chose a location along with Irene, my
friend, who walks with me. And whatever turns up on that
walk,I photograph. It is usually at weekends or on
holidays, which are often spent in the west coast of
Ireland. It is very much a random process I dont
have a rigid plan. I know that there is landscape there:
what I dont know is a whether the right picture
will present itself or not. I know that there are places
there that will capture the imagination if the light is
right, and if it is not raining. This means driving some
distance for a couple of hours. Maybe even a couple of
days. When we get there, it could mean walking for one
hour or even six hours.At times we have to camp there. My
style has very much to do with the way the light affects
the landscape.As I mentioned earlier, my reasons for
taking landscape photographs is the love of landscape,
rather than the love of photography.
You seem to avoid human
figures altogether in your landscapes.
Yes, very much so. The
only time I include humans is when they are in
silhouettes to make shapes. I think it detracts from the
beauty of the landscape when one has a recognisable human
figure in it.
Unlike most landscape
photographers who try to capture beauty it is texture and
form that dominate your work.
Yes, I emphasise the
shape, the texture, and the form rather than a pretty
view. A lot of my work is based on the formation of
clouds, the interplay between the sky and the land. I am
constantly watching how clouds move, and how the light
changes.With black and white this is very obvious. Colour
can actually destroy what you are trying to say.
Do you manipulate your
images?
It depends on what you
mean by manipulate just a little dodging and
burning thats all, and of course, sometimes toning.
I also sort of dabble with alternative processes. In the
exhibition there are a few examples of Gum Bichromate
process. This was one of the earliest photographic
processes that was very popular in the 1890s.It lay
almost forgotten for decades, until its potential
received recognition in recent years.
Is there money in such
kind of work?
No, I earn my living from
farming. Photography is a serious hobby for me. It would
be difficult, you would never make a good living from it.
Have you managed to get
some photographs here?
Yes, in Delhi I was taking
pictures all the time. It is amazing how everywhere
looked, there was something different from what I was
used to, the colour, the movement, the people, the
clothes, I just could not believe it. I would love to
take landscape here because it is very different from our
own. Certainly, when we get up into the hills of Lahaul
Spiti, its going to be a huge inspiration for me. I
have brought plenty of film!
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