Roger Fenton, Wharfe and Pool, Below the Strid, 1854
Fenton’s scenes of stately homes continue this dialectic of permanence/transience: the brief lives of the owners, the old stones. A favourite of mine is The Long Walk (1860) taken at Windsor. I remembered it from the cover of Rebecca Solnit’s book Wanderlust but now I’m rather saddened to realise that the cover photograph must have been digitally altered. The two images look the same but on Wanderlust there is just a solitary figure, sharply defined, rather than the less distinct figures of a woman and a girl.
Fenton’s photographs of the Crimean War avoid the conflict itself but tell a moving story through landscapes. Valley of the Shadow Death (above, 1855), for example, shows a nondescript track, littered with cannon balls. Elsewhere Fenton captured the empty plain at Sebastopol, another bleak vista, with just a few isolated figures gesturing towards the distant town.
Excellent links with the images. Some reminded me of Fay Godwin's photographs set alongside the poems of Ted Hughes in 'Elmet'.
ReplyDeleteThanks, snarlerson. I know what you mean about the Fay Godwin images. There's a nice little Godwin website here. It has a list of Godwin's books; in addition to Ted Hughes, she collaborated with John Fowles, Alan Sillitoe, Richard Ingrams and Blue Peter's Peter Purves...
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