I was familiar with a place that was known as Little Moscow. The ex-mining village of Chopwell in North East England got the name from its Communist leanings that had developed over the years. I ended up visiting on a number of occasions to make contacts with a mind to returning to to document the place and its people.

The people of Chopwell have either lived there for all of their lives or have migrated there due to its inexpensive housing. Chopwell has some of the most inexpensive housing in the UK. As a result, there are a wide range of individuals living in Chopwell. My broader project shows a greater body of work. 

Chopwell was once a prosperous place with everyone employed either directly or indirectly by the coal mine or the nearby Consett Steel Works. However, once the mine closed, no new inward investment meant that the place began to deteriorate. My visits unearthed a welcoming community with a distinct individuality and outlook on life. 

This particular image is of George Beckwith, who was once the village’s Post Master. I shot a number of compelling images of him but I felt that this one, at these times of Covid-19, struck a cord. I very much wanted to embrace the reflections in the glass which helped to convey the feeling of memories and past times. The shot also conveys a certain loneliness which was very true of George’s life who’s wife had passed away years ago. I very much love how the reflections hint at the environment outside, a world that is gritty and uncompromising.

What do you think are the TWO most impactful features that make your image a good photograph? Don’t be shy!

My work is often viewed as having cinematic qualities. The quality that is often hard to pinpoint. It is often a combination of qualities that go towards creating a cinematic image. It tends to be a state of mind too, something that is just subliminally programmed into everything that I do. 

However, lighting is an area that I take great care to craft. The somewhat ethereal and de-focused qualities of the window’s reflections contrast with the way that I’ve lit George from outside. I used three light sources. A directional light source to really pop his face and expression. A fill light to smooth out the contrast. I then mixed and balanced the available, over cast daylight to complete the lighting design. 

The second main feature would be my direction of George. I have always had an ability to work with real people, non actors, and get incredibly poignant results. His reflective expression really cements the overall feel of the shot.

If you would be able to make this photo once again, what would be the ONE thing you would like to do better or different?

To be honest, I wouldn’t change anything. I always ensure that I’ve extracted the very best from each situation that I go into. No regrets looking back….

Alex Telfer shared his photograph in the FRAMES Facebook Group.

Photographer

Alex Telfer, United Kingdom
WEBSITE
INSTAGRAM

Equipment and Settings

Phase One IQ 180
55 mm Schneider Lens
200th at f6.3
Broncolor Move lighting packs
1 x flash head with p70 reflector and grid
1 x flash head with small Para