Spring Creek …  f/5.6     1/4,000s    300mm     800 ISO

Choose one subject, anything will do — your own house, or the house opposite, or the next house — and in place of a tripod, drive a stake into the ground, nail a board on top of this, and make a screw hole in the board for the screw of your camera . . . Photograph your subject at every hour of the day, on fine days, and at intervals on dull days, photograph it after it has been rained on for weeks, and after it has been sun-dried for months.

~Frank Meadow Sutcliffe (cited: The Aperture History of Photography Series)

Nikon D750  f/5.6   1/100   62 mm

Sutcliffe rarely left Whitby [a port and resort community on the Yorkshire coast], where his portrait studio kept him busy, and said that he was ‘tethered for the greater part of each year by a chain, at most only a mile or two long.’  To most modern photographers this would seem a crippling restriction, but Sutcliffe gradually realized that it was an asset to him as a photographer since it forced him to concentrate on the transitory effects that could transform familiar scenes. …photographers should always aim for something more than ‘mere postcard records of facts.’ ‘By waiting and watching for accidental effects of fog, sunshine or cloud,’ he advised, ‘it is generally possible to get an original rendering of any place.  If we only get what any one can get at any time, our labour is wasted; a mere record of facts should never satisfy us.’

cited: Frank Meadow Sutcliffe, The History of Photography Series, p 8


Nikon D750  f/7.1   1/400s  28mm   

Sometimes Providence interferes and saves the beginner from all trouble with his stops. It did so with me. I had a dog which took a great interest in my first camera from the very beginning. There is, perhaps, something about morocco leather which reminds a dog of the Elysian fields. It was a lens-cap, morocco bound outside, velvet inside, which Charlie devoured first. A cork out of a pyro bottle fortunately fitted the lens-hood exactly. Then, after eating the cap, while my head was under the focusing cloth, Charlie devoured the leather case, with all the stops in it. This was an insurmountable difficulty. I know I wrote to the maker of the lens to ask what a new set would cost, but as the amount was more than I possessed, I determined to do without. That is why I was saved from under-exposure, with I should surely have been led into with a multitude of stops.

~Frank Meadow Sutcliffe (cited: Frank Meadow Sutcliffe, The History of Photography Series, p.6)