Photographer Fay Godwin documentary 1986

hello the British love their landscape and have been representing it for centuries first with Brighton pencil now to buy camera tonight we're looking at the art of landscape through the work of one of its greatest modern exponents the photographer faire Godwin she first made her name as a portrait photographer specializing in writers and an exhibition of some of the best of these pictures opens at the Poetry Society in London on the 13th of November but it's landscape photography that has really established Godwin's reputation pictures of the British countryside as it really is not only untouched and beautiful but also sometimes spoiled and derelict her most recent book on the Forest of Dean combined her photographs with poetry and prose to capture the life of that area and a book called simply land a summation of her best landscape pictures accompanies an exhibition which opens on the 11th November at the National Museum of Photography in Bradford we tend to think of painting and photography is entirely separate forms in fact of course the visions they present are often closely related and Hilary Chadwicks film traces some of the links between Godwin's work and the tradition of British popular landscape painting but Godwin is also a peculiarly modern artist a chronicler of Britain in the 1980s and in tonight's program we see her at work in some of her favorite places at opposite ends of the British Isles southeast Kent and Sutherland in the Scottish Highlands the mountains her really magnificent very rocky very very deep indeed and the light is just catching on some of the sort of horizontal strata of stone and there's a lovely little island in the Loch which looks like some sort of a little prehistoric bird floating across there Suns just caught the the stones on the front which almost like small cliffs it's also lighting up the trees a little bit when there's no Sun there there's there's very little texture on that part of the landscape and it just brings out a bit of the texture looks rather flat otherwise the moment it it looks it looks absolutely wonderful just coming out nicely because they really are amazing mountains there's a they're quite high and yet they're rising up quite steeply from the lock like some landscape there's all sorts of things as far as I'm concerned it is of course very beautiful in many ways but that isn't all that it is I feel in many ways landscape can be quite threatening and quite often frightened out in the landscape and it's often quite simply indifferent and I'm interested in all those different aspects in the last decade Godwin has collaborated on nine books giving her own individual impression of different areas of Britain these books show her interest not only in wild and untouched country but also in the buildings placed there over the centuries slock I sent here and the castle is odd brick castle it's an over in castle where I think many a bloody battle was fought lots of people come and see it it's a great tourist attraction the country round it is very wild and very bleak and I want to get that feeling across this car from being in the center of this extremely wild country which looks like the original recipe for camouflage mainly it's sort of very subtle Browns mostly browns and greens muffled country it's nearly the middle of June there's new snow on a lot of the mountains all around and it's there's a north wind and it's absolutely bitterly cold but the light has been very dramatic apart from the castle those are always an ancient burial mounds at the top I'm interested in combining the two because to me there's a great sense of history in this I took some pictures here in 1978-79 which was quite nice I quite liked them but I didn't use them in land because I didn't feel that they quite made it I didn't feel they quite gone beyond the picturesque they didn't seem to have a real strength to them I'm kind of wary of picturesque pictures I get sort of satiated with looking at postcards and local newsagent and and at the sort of picture books that are on sale many of which then seem to very much relation to my own experience of the place the rest of them here was the last produced up here in Scotland which is truly dreadful postcard it doesn't even give a hint of brown it's all greens and blues and this is why I find most British postcards absolutely revolting the castles part small it doesn't give any idea of what this countryside feels or looks like at all and then there's another they're rather glossy a postcard nicely reproduced presents it to me doesn't say anything at all it's just an absolutely standard silhouetted sunset picture the only thing they left out was sort of pink but it's I think that's pretty boring castles have always been a popular subject for British landscape artists never more so than in the 18th century when painters began to work directly from nature and to look at landscape in a completely new way from the 1750s onwards landscape and responses to landscape were an amazingly popular talking point I mean everybody was talking about landscape everybody was going to places looking at places recording their responses to those places in some ways the cult of the picturesque was really an offshoot of the discussions which were encapsulated by Edmund Burke in a book which was extremely influential called an inquiry into the origin of our ideas of the sublime and the beautiful that was published in 1756 and which really categorized experiences of looking at things as either sublime on the one hand or beautiful on the other the sublime being to do with darkness terror privation vastness the beautiful being to do with softness gentleness smoothness and so on the castle is an absolutely statutory subject within the repertoire of the sublime Burke picks out castles I mean they're sublime because they're threatening defensive huge structures which usually loom lowering Lee and threatening Lee down and of course they also politically represent as it were a hierarchy the Lord in the castle and the peasants outside the castle so that there are lots and lots and lots of paintings of castles particularly during the Romantic period clearly the picturesque does survive in presentations of picture postcards and it's quite interesting I think how views that were coined in the 19th century by travelling artists reappear in colour photographs that are sold in news agents and shops in places of tourist attraction the problem for me about these picturesque pictures and which proliferate all over the place they are sort of blanket they're almost like a a very soft warm blanket of sentiment which covers everybody's idea about the countryside and it seems that on the whole people like to look at books of the whole of Britain that's what sells there's always a new book of pictures of the whole of Britain glorifying the countryside and I think that individually some of those pictures are very attractive and very charming but taken on mass they make me feel slightly as if I've had too much cream and I think what it does is it idealizes the countryside in a very unreal way and I'm worried again of all these country parks springing up all over the place so people are let out into the country but they don't really experience the country there are sort of nice benches losing everything everywhere and they don't really experience the country and they don't really understand the problems of the countryside and so there's more and more polarization between people who live in big cities and people who live in the country because some of the big city people like myself live in the centre of London I like to know these spaces are still here but one can become very unrealistic when one starts saying well you know they shouldn't spoil this area with a fish factory or various other other things which the local people need in it in order to survive because if there's nothing at all for people to do they're the only population and this sort of area will be services for hotels and that is totally unreal what aspect of the reality of the British countryside that most interest Godwin is it ancient history this heap of stones is an ancient burial mound I find them very interesting I look on the map and see where they are and I tend to go and have a look at them I find I'm fascinated by them because they always chose very beautiful places to have these burial mounds yeah I was rather unaware of burial mounds for a long time when I first started doing landscape work I gradually got very interested of course I photographed Avery and Waylon smithy and there are quite a number of burial mounds there and I gradually came to recognize these mounds so that every time I looked at a bump in the ground I wonder whether it might be an ancient can and very often they are and somehow looking at one like this makes me think of how many there are all over the country okay Stonehenge isn't a can but there that's also a prehistoric monument and we have so many of them in this country and I found them quite mysterious and very very evocative they get a great sense of history through these stones the first taken a lot of pictures of ancient remains such as stone cans in Scotland rings of standing stones in all clay there is Marcus stones in Wales in England now the great recorders of eventual monuments going back to Romantic period sure there was very substantial things indeed serious pieces of architecture Faye's monuments look by contrast as though they got there rather by accident they were propped up as an afterthought and I think that relates to a sense in her work that that all human making is provisional that if you make standing stones if you prop them up they're bound to fall down again or that function is bound to be forgotten so they do look as though they've been cobbled together primitive accidental arrangements of things this is the assen Terrier in Sutherland it's an extraordinarily sad part of the world as far as I'm concerned most the time it's heavy and wet and oppressive and I feel very strongly they have the oppressive feeling of the clearances they're practically no people living around here because in the late 18th and beginning of the 19th century almost all the people who lived here were removed by the landlords and during what is known as the clearances and that was to make way for sheep farming so the Sheep were much more important than the people and the savagery with which the people were removed is quite extraordinary and they they were literally physically thrown out of their houses the houses were knocked to the ground all their furniture and roofs and so on were burned and if they were found sheltering anywhere there immediately evicted and in the end vast numbers of them emigrated I find it quite depressing there's a limit to the number of days one can stay around this area when it's raining heavily and the mist is done there's so little feeling of real habitation here looking at Godwin's photographs of Scotland I'm very struck by the absence of any signs of humanity if you take for instance her views of Glencoe the absence of humanity is a very powerful ingredient if you think about Glencoe as the location of the 1691 massacre of the McDonald's the absence of humanity that absence fills the the whole image with pathos which is reinforced I think by these stripes almost sort of striations dark and light as you the eye traverses across sheets of water and areas of moorland now what characterizes Copley Fielding's and other mid 19th century views of Scotland is a very secure reassuring inhabited humanized quality and if you take for instance his Rannoch Moor done in 1854 it's full of peasants of people on horseback it gives a reassuring air of everything being alright and overproductive landscape a landscape that is supporting its community this sort of imagery is produced of course for London southern urban market at a time when in fact I mean all sorts of things were going on in Scotland like the clearances and so on which people in London ought to have been worried about and weren't worried about and really faith photographs are terribly powerful because they are empty my work is often called romantic and it's been reviewed as being romantic which I fun III don't really find very acceptable I certainly even though the reviews have intended to be flattering I have not found it flattering I think it's partly because I'm not an academic to me romantic has something to do with you know rather and slushy sentimental seeing fake ovens pictures look at first sight to be very romantic the romantic elements in them are distant Hills that's very important secondly cloud escapes mists that sort of thing but against every romantic element she puts a practical element and moorland scene will have a pathway across the foreground fences stone walls gates even stones in the foreground so there's in her work with a sense of distance and vastness and then in the foreground of what is portable things which might be picked up or theatres might be used so that the two senses then in phase work of Romanticism which is always offset against something which is practical analytical commonplace I've often seen this stone walls and never seen anything any like track she got run to taking on the picture it's the sense of enclosure in this very wild landscape which interests me partly there are so many different enclosures in this picture fences and quite a number of gates and I find that very interesting endless fences and then the telegraph poles going straight through the landscape and of course beyond that is rather lovely see it's difficult to say exactly where one wants to take pictures I think one could say it's exactly one would be writing or not being a photographer but and I find this if I take things too consciously for any particular reason it doesn't necessarily work I think that very often the picture that one takes instinctively is the one that really works and for some reason those walls have a very strong pull as far as I'm concerned I don't want to get the post-office van in this particular this particular picture because my exposure is so slow that I'll just end up with a rather unpleasant blur it's gone out of the picture now she's interested in marginal lands the welsh frontier for example cumberland parts of scotland just on the edge of cultivation because i think that on those terrains you see culture coming and going it's been there and it's beginning to withdraw its best efforts have been slightly scuppered set ignored they've been torn a bit by the wind and whether it's the place where the pendulum swings where the the movement of culture and nature is most clearly evident she likes to set them in balance see the one against the other see them in relation that's the thing the relationship between the two i was driving near by where we're taking these pictures of the walls yesterday evening and decided to have another look yesterday evening absolutely beautiful late afternoon sunshine as still as could be and now it's a totally different scene there weren't there aren't very many sheep around yesterday it's very dull light but still find the shapes of the wall and the fence is very interesting I'm using a wider angle lens because I've got problems with the wind so I haven't got the same depth of field but it's it looks as if it might be quite interesting I've used one or two of them I've used an orange filter to try and bring out the bit of texture on the walls sauce the texture was brought up a lot more when the Sun was lighting up the walls it's not quite so good in this rather dull light but it may work all the same just reloading because I wanted to use some faster film sometimes use quite a lot of film just wanted to take a couple more because it's so windy I'm afraid my tripod may have moved now of course my lens is covered with rain very good quality all right just check the light because I think it's a lot duller than when I first came down here ah stop I don't like working when it rains I think that probably there's not much point in going on the light is getting worse by the moment and if I'm going to get a picture I'd have got it by now so I think I'll give up and call it a day today fair Godwin is one of this country's top photographers but she began like the rest of us as an amateur I first got interested in photography through taking family snaps of the children in most cases the the person who takes the family snaps is actually the the dad that's the majority and it's changing a bit now but although my husband was very supportive and was prepared to buy the camera and had a very good visual sense he couldn't further marked how a camera worked and I seem to understand instinctively so and I got very excited about photography there's a sort of delight of discovery it's just like learning to ski you wow you can do it it's a long time before you realize that the issues are far more complicated than just actually producing a photograph but it's great fun I mean photographs like the leaping dog and my children leaping around and I put together a book of a family who lived across the road that they had asked if I would photograph their children and they weren't very well off so I said rather than charge them anything I would do it if I could come in anytime and I've put together over a period of year a whole book a whole album about that family which I really was very very pleased with I had a great deal of trouble finding anywhere to learn about photography it was totally isolated in those days there were no galleries to go and look at I couldn't find any other photographers I couldn't find out how to learn to process I had terrible terrible problems technical problems and if only there had been workshops available then and say are now I think I would have saved myself an awful lot of pain and grief you all got tripods oh yes it is it's obviously yes aspyn's light orange Godwin is now very committed to helping amateur photographers avoid the pitfalls she encountered here she's tutoring a workshop run by the photographer's place in the Derbyshire Peak District a traditional haunt of landscape artists no because I think that's reasonably clear today I would say I wanted to know how to expose the sphere I've got a red filter right so that yes I want to get those two filters on there aren't you going to get vignetting you are good idea to use more than one at a time the red filter will give you a very very dramatic looking sky laughter yes that's right so as you can see so the clouds will stand out better idea what I want that's a very difficult matter yes skyline yes I think in lots of cases the workshops simply enlarge their perspectives their ability to enjoy photography in general their own work and possibly other people's work it just enlarges the whole photographic understanding well I would also then suggest us that the rock is very interesting have you thought of trying to cut out the sky all together out of it because then you get into a different area where you have not that problem yes but also it's it's you if you look at its composition the it's working from the top down I found very few people who have absolutely nothing to say I found nearly always there's something there but quite a lot has to do with commitment I mean if somebody says they are definitely going to become a photographer and shows certain amount of energy I tend to assume that they are going to become a photographer in about 1970 my marriage broke up and by this time I was really obsessed with photography and very interested in it and so I decided to see whether I could do it professionally so I had a little leaflet printed up the leaflet was of my best portraits and I sent it to anybody whose address I could get and it did bring in quite a bit of work most the portraits I've done the profession they've been of writers that's because I have always loved reading and I've been a bookworm since I used to read under the blankets remember age about 4 onwards so it's in a sense perhaps the portraits of writers there's a kind of homage to writers I don't go with any clear idea of how I'm going to photograph the writer what I'm looking for is to get a photograph that really makes me feel the person does look like him or herself I'm not trying to use them as a graphic device which may mean that in some cases their portraits are quieter than they might be it's it's very easy to make exciting shapes but I feel that sometimes the personality may be sacrificed in 1976 my husband from whom I was separated died I was left with no money because even now over 10 years later his estate has not been sorted out so I had to support my children single-handed and at that point I was diagnosed as having very serious cancer so life was pretty bleak at that stage and I wasn't given very much hope and I I decided that some Hara that there was no way that I could afford to kick the bucket as well and I had been doing a lot of work in factories before then trying to show to some extent the conditions in which people were working the appalling conditions and as it happened just before I was you know both Ted Hughes and John Fowles had invited me to do books with them and I decided to pick up on both of those well I knew I wanted to do both but I decided to do both in the same year because I needed money desperately and so and I also didn't want to do any more work in lousy conditions in factories I decided to spend as much time out of doors and walking as I possibly could Ted who suggested that visit called the valley and I went up to Yorkshire and saw this vast industrial landscape the Moors with little milk pans all over and that was a real eye-opener this was when I really got interested in the landscape also there was all the the the remains of the old industrial past which really interested me all the mills were just at the point of closing done but they were still there since then many of them have gone so already lots of the pictures that they've taken their mills which are simply not there anymore when I worked with Ted Hughes he wrote some of the poems with a bearing on the photographs I'd taken and then the poems would spark off more ideas for new photographs for me to take so it was a very reciprocal book opened a huge light wind Shepherd's play the reeds of desolation dragged out of the furnace they rose and staggered some way it was God they knew now Hills barren through visions from emptiness to brighter emptiness with music and with silence startled people look up with sheeps heads then go on eating I took landscapes to try and give an idea of that very black to me it felt like a black area that I found it very beautiful but in retrospect I think part of the blackness was my own personal problems of being very ill at the time because going back there now I no longer found it black she acknowledges the fragility and frailty of human making and I think that's what audiences recognize about her it's on the one hand romantic photography on the other hand it shows that human making is subject to all sorts of accidents is certainly going to pass after being ill I think that I concentrated more on landscape in a sense it all the natural things became incredibly important because after having Orthodox excellent Orthodox treatment I decided to to take alternative and complementary which were very natural methods and I went on very sparse vegetarian diets and somehow the natural world became it even more important and valuable to me it already was but it was even more so and I had this instinct that it would pull me through many of Godwin's most successful books follow the course of ancient pathways this is the section sure way along the Kent coast here as in much of her other work remains of the past have sparked her interest I came to recover sort of expecting somewhere with immense resonance I mean I looked at the the the map Rakhal ver a B Roman all this sort of thing I couldn't believe it when I got here the whole place was swamped by the sea of caravans so I I took what I would consider the the picture that people would expect to see to recover a be without the caravans which he was undoubtedly can see from the sea but then I decided to show it how I really saw it there was this a very interesting sequel to that picture when the exhibition was shown in Northumberland last year there was a reception at the the preview and there are two sexes and experts and they came up and really had a go at me I was really pilloried and they said how dare you show our Saxon heritage in such a light and to me this is extraordinary it really shows what a lot of British people think about photography so those picture colour books that southern such vast quantities are really what people want to see they don't want to see what the planners and so on have actually allowed to happen I think that what she's doing there is something that is very much in line with what some 19th century artists did which was to take a revered object of antiquity something that was a recognised antiquarian status but see it as it is today so that an artist like Thomas shot a boys for instance portraits the torso Jack in Paris but in order to get to the torso Jack your eye has got to you've got to traverse very messy contradictory set of images in the foreground including people selling things and the entrance to a school and old buildings and so on and you simply see the abbey tower through these and behind these and I think that Faye Godwin appears in this to be very interested in how antiquity is experienced today and she therefore sets up a very effective series of binary oppositions you've got the secular and the religious the old and the new the inhabited and the uninhabited and you've got a recall her ad after all a distinguished place where people lived and worked and is now empty and people are now living and working in caravans the permanent and the temporary and those opposition's I think they don't destroy the Adly at all I mean what they do is enable the viewer it seems to me to appreciate how it is we read and understand these kinds of images in our our own everyday lives remains of old defenses along the Kent coast have also a fascination for Godwin we're on the beetle hive and the towers are Martello towers which were defenses against Napoleon and there's one which has been converted into a weakened or possibly a permanent residence and the walls are so thick that again though it took them a week to drill through to get the window spaces and it's got a very nifty cannon just outside it like taking one or two color pictures today because the knife is very dull as far as black and white is concerned but it's quite subtle for colour Godwin's photographs of obsolete defense installations are full of of pathos I think they're objects which no longer have a function but which once did have a significance a meaning which had now lost that meaning and are therefore I think extremely nostalgic and extremely poignant Ford Madox Brown in 1860 in walton-on-the-naze produces a very cheerful buoyant inhabited landscape which includes not only a Martello tower but a variety of sailing vessels Briggs and so on and it is a very nationalistic painting with Union Jack flies from the top of the Martello tower but Godwin's I think is the her representations aren't very different from that and again you get this emptiness the lack of humanity lack of any kind of human presence in them only an implied human presence off of the dead of those who've gone absences that's pillbox presumably from the Second World War it's a lookout post machine-gun post anything like that most of these things have never been used and will never be used as I hope most of the present Defense installations we have and they've just become obsolete so fast we've got them littered all over the country right from the farthest northernmost point of Scotland right down to the very south everywhere you'll find these old bits of Defence works this pull boxes on the Royal Military Cannell and it was built to keep Napoleon's army ant which makes me chuckle because Napoleon's armies have recently crossed the hull of the Rhine this is just a little ditch a few feet across but I think at the time it was built it probably cost the extensive costing us now and I expect that the nuclear defense will turn out to be just as big of folly as this canal Godwin's concerned with the nuclear issue is one of the things that drew her to the strange landscape of Dungeness I started photographing it long long ago probably about 1975 had a big series of Dungeness pictures I found it totally surreal as extraordinary power station and all these little caravans and all sorts of strange bits of radar around so it's very peculiar though these little railway carriage dwellings some which have beautifully kept - though they're kept in great with strength of repair go beautifully painted and there are all these little shacks which are very much treasured places there's all sorts of incongruities like that people sheltering on their windbreaks on the beach almost looking as if they're sheltering from the car station I've got the picture of the sleeping fishermen on the beach it's almost sort of you know you wonder whether he was sleeping well there's all sorts of nuclear things escaping from the power station behind him one strange paradox is is that the warm water from the nuclear power station means that lots of seabass come in it's actually very good for fishing I personally wouldn't care to eat the fish that the fished out of dozen nuclear waters myself [Applause] at cliff lagoon on the Thames Estuary Godwin finds a compelling subject in another aspect of modern technology I first took this picture of the rotting car about four years ago no summer summers day in fact I came here several times I was very interested in the car and I someone had managed to fling a bicycle tire around the open boot handle and I found quite amusing I was very surprised to find that were those still any traces of it left I thought it probably would have been entirely submerged by now it's changed direction slightly with the wind I have taken the color- picture of it because the color of the water is absolutely marvelous I hope it it looks like that it's quite interesting to mark the passing of time that way with the photograph it's quite amusing of course it's deteriorated a great deal since then but in a very interesting way I mean see all its insides exposed nor the wiring and so on I think the scenes of coastal dereliction that Faye has done particularly around the Kent coast are actually very much within a tradition of British marine painting there is a formal interest in the kinds of structures visual structures that these things produce creating tensions between smooth expenses of water and sharp jabbing stabbing metallic or wooden forms that project into those smooth areas certainly obsolete objects things that are very dilapidated attracted artists in search of the picturesque a great deal and an artist like II W Cooke who came from an extensive family of marine painters and a engravers in the early part of the 19th century his views of coastal scenery have many similarities with the way in which Fay treats those motifs [Applause] in one of her most recent projects Godwin has been photographing the area around Dover for a conservation group the council for the protection of rural England they asked me if I would photograph the area that's threatened by the Channel Tunnel I had mixed feelings about this because my first reaction is well why shouldn't there be a Channel Tunnel but as time has gone on and I've started reading about it I've become more and more convinced that it's an absolutely disastrous mistake the Channel Tunnel group are considering dumping all the spoil from the tunnel at the photo of Shakespeare cliff and nobody knows what that's going to do to the ecology of the sea around here and all the beaches up and down may affect them very very seriously this is the first time I've become directly involved in this scheme such as this but I really felt it's going to ruin the great deal of the countryside it's going to bring too much industry to the southeast I think it's probably unnecessary anyway it's going to concentrate far too much traffic into this narrow corner of the country and lose a great deal of very beautiful landscape the rural the countryside the landscape has always been the site the area in which debates about morality and theology have taken place after all the man and woman were expelled from the Garden of Eden Adam and Eve were expelled from their paradise and we live in a fallen world and certainly I mean in the 18th and 19th centuries there are enormous the important significant moral debates about which Centre on landscape and nature and human beings relationship to that nature and I think one of the very interesting manifestations of 20th century interest in environmental problems is the way in which landscape is again very much a focus for a discussion about the environment and so on the pictures for the anti channel tunnel campaign are ready for printing on this project Godwin is working with a young photographer Peter Cottrell the prints on grade three the test strips on grade 3 and grade 2 yes I thought the printer should be slightly between the two so maybe we could stick to grade three and use the software working developer yes but also think apart from the process of printing in black and white is absolutely crucial to the success of the final principal it's particularly important with landscape I find even a very small change of tone completely changes the field of the picture [Applause] with land a summation of her best landscape work for the first time Godwin was free to select and order the photographs exactly as she wished I spend quite a lot of time editing my work and to me that's a very important part of my work lund was the first time I was able to sequence the pictures on their own it's a collection of many different series including the books and some series that I did where there weren't any books and I decided that somehow or other I didn't want it just to be an encyclopedia of my best pictures I decided I wanted some kind of a sequence even if it's quite elliptical and I had a very interesting time putting it together it took me a long time to put together but I found it very satisfying of course photography is a major medium for art it is a kind of hybrid medium which allows you to make very complicated intricate formal cultural statements very largely in the book form and so the major photographic works have been books I'm not terribly bothered about the argument of photography versus art I see myself as a photographer and if eventually somebody finds some art somewhere there that's up to them I feel my own feeling is that I do work creatively but that I'm specifically a photographer therefore my work cannot be bought by the Tate Gallery her summary of Britain 1980s is for country which has fallen apart which has been badly treated misused brutalized but which i think is going to recover from it not in any cultural sense it might turn simply into wild nature she shows that this kind of layering of ancient cultures the latest one made up of wrecked motorcars bits of barbed wire but that too is going back the way of Roman forts Saxon Abbey's Norman castles and all the rest of it it's returning to nature I think the reason why I found British landscapes so satisfying is that I do like this sense of history that pervades it I think we're a grotty little country with all sorts of things wrong with it but that we have some of the most varied and delightful landscape that I've seen anywhere I love the right here the weather is often infuriating but it's full of surprises so one can never get bored with it

Channel: Steve Haskett

Views: 25,659

Rating: 4.952055 out of 5

Keywords: fay Godwin, photographer, scotland, kent, countryside, hasselblad, peak district, landscape, B/W

Id: WJR_UJnry8s

Length: 51min 13sec (3073 seconds)

Published: Wed Mar 25 2020