I began taking photographs over forty years ago. From the very beginning I was enthralled and captivated by the photographic prints and the world that they presented to me. As someone without any draughtsmanship, or any facility with brush and pen, I found that the camera, and more importantly the darkroom, enabled me to make pictures of the world that I observed and thought about.
Although the arrival of the digital revolution has subsequently replaced the gloom and magical odours of the print room, the excitement and alchemy of photography still burns bright for me. The means may have changed but my approach, techniques and motivations remains as they were.
The work I make is informed by and originates from many influences, both painters and photographers in particular: Caspar David Friedrich, William Turner, L.S. Lowery, Andrew Wyeth, Ralph Eugene Meatyard, Ralph Gibson, Keith Carter and Hiroshi Sugimoto.
Following the premature death of my brother 11 years ago my work has increasingly concentrated upon ideas of time and its passing, and specifically with exploring the artifice of memory…
This image was taken in June 2018 on Chapel Porth beach in Cornwall, England. It was a sunny and warm late afternoon. I had been taking some photographs of surfers and was about to leave the beach and head back to the holiday accommodation. As I began heading away from the shore I noticed in the distance this group of horse and riders… I was quite engrossed by the procession heading towards me, and I began thinking of the scene from David Lean’s Lawrence of Arabia in which Lawrence first meets Sherif Ali (played by Omar Sharif). The scene has Lawrence at a waterhole, and in the distance he sees a shimmering flickering form coming towards him. The scene takes several minutes to reveal that the apparition is in fact a horseman. Subsequently these thoughts were at the forefront of my thinking when I took the photograph, and I knew that I wanted to convey the ghostly/spectral elements of a mirage, which hopefully I have.
What do you think are the TWO most impactful features that make your image a good photograph? Don’t be shy!
That’s hard to say but for me it is the space occupied by the sky accounting for two thirds of the composition,along with the spectral movement of the out-of-focus-horse and riders,that appear to be hovering above the sand.
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?
In truth, I would not change anything. I made the picture I wanted to make – any changes, for better or for worse, would result in an altogether different picture.
Adrian Hill shared this photograph in the FRAMES Facebook Group.
Adrian Hill, Wakefield, West Yorkshire, England
Equipment and Settings
f/16, 1/125 sec., ISO 200
Every year we release four quarterly printed editions of FRAMES Magazine. Each issue contains 112 pages printed on the highest quality 140g uncoated paper. You receive the magazine delivered straight to your doorstep. We feature both established and emerging photographers of different genres. We pay very close attention to new, visually striking, thought-provoking imagery, while respecting the long-lasting tradition of photography in its purest incarnation.
Learn more >>>