A detail of Guildford Cathedral |
When I was asked to display a selection of my hand printed black and white photographs at the Art House in Sheffield, I left the choice of the prints to the curator, Amanda Evans, even though it omitted several of my favourite photographs and included subjects that were not made of stone.
I started out with my black and white photography at the same time that I had fallen back on my degree in geology, after leaving the building restoration industry, to further develop my specialist skills in “stone matching” – starting at St. Leonard’s church in Streatham, London.
My first ever black and white print was of a simple wheel cross in the churchyard, made in the very familiar Portland limestone, and I later returned to photograph the Bath stone head stops and the flint walling that are found on the north side of the church.
Not long after, I was asked to produce a record of the flagstone floor at the Leather Bottle public house, once frequented by Charles Dickens, which had deteriorated to such an extent that it had become a serious Health & Safety hazard and needed to be replaced.
Taking advantage of my membership of English Heritage and the National Trust, I then spent a lot of time visiting Kent and Sussex for day trips and further afield in Dorset, Wiltshire and beyond when visiting the in-laws for a weekend.
Wherever I went, I would take note of the landforms and the building stones, which reflect the underlying geology, and I got to see a wide variety of sandstones and limestones – including Chalk, Kentish ragstone, Reigate stone, Chilmark, Purbeck marble, Ham Hill stone, Quarr stone and Jurassic oolites.
At the Geological Terrace in Bournemouth, I encountered one of the best collections of building stones that I have seen, with large blocks brought in from all over the British Isles and originally comprising 202 specimens of igneous, metamorphic and sedimentary rocks.
The sea front position has exposed all the specimens to the elements and they have weathered to varying degrees to leave a variety of textures, which are just as important as colours – when selecting a building stone to be used for the repair of a historic building.
I visited the coast on a few occasions, to look at the string of fortifications that had been erected by Henry VIII but, except for a trip to Marazion in Cornwall, where I photographed St. Michael’s Mount – using a tripod for the first time - I didn’t encounter any rock outcrops.
Looking at the various buildings through the eyes of a surveyor/restoration contractor, I observed the condition of different stones in the various structural elements, dressings and weathering courses – noting in particular the bedding, variations in grain size, fossil or shell content and general patterns of weathering.
Continuing with my exploration of various cemeteries and churchyards, I progressed to providing contract records for Wandsworth Borough Council, during the cleaning and conservation of the Huguenot tombs in Wandsworth and Putney - a project that also appeared in the local newspaper.
In addition to Portland limestone, used for most of the table tombs and often thickly encrusted with clinker like deposits of dirt, I encountered white and grey marbles, Kilkenny limestone and also artificial Coade stone.
Although I spent of my time travelling in the part of southern England that is bounded, approximately, by the line of the River Thames to the north, I had trips abroad when practising my black and white photography – in Normandy and in Crete.
On these occasions, I have to say that I didn’t take notice any of the rocks at Mont St. Michel but, when I flew from Crete to Santorini for a few days, I could not help but notice that I was surrounded by volcanic rocks.
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