Ashton Moss

The Ordnance Survey map of the area I'd bought (Sheet SJ 89/99) shows the lines of several public footpaths over the Moss. One of them crosses the railway line and heads off towards Littlemoss and Daisy Nook. I wanted to follow it through.

I started off along the track which runs between Albert Hulme's and F. Vas' estate. Part way along on the right I passed a neat trench about 20 yards long, by a yard across, sunk to a depth of a few feet. Clods of thick black peat were piled up alongside the trench. This is rich agricultural land.

I continued on towards the railway line. I could see a level crossing and a sign: "STOP, LOOK, LISTEN, Beware of Trains". I could also see a barbed wire fence which blocked my path. There seemed to be no way through. The light was failing fast, and time was pressing so I turned back and headed towards Albert Hulme's, passing some more peat "cuttings" on the way.

1 11.00 a.m. : The light had now all but gone, the melancholy air returned to the Moss. I stopped briefly to take this shot of Albert Hulme's shed, the lighting wasn't good, but I'm happy with the composition. One to return to.

Ashton Moss 29 January 1989.

2 The Moss midday, under hazy, watery, sun. (Another photograph looking down the track on the Italian's estate, towards that radio mast, towards that shed). Solitary and still - except for the model aircraft. Some kind of display going on, a voice over the tannoy fading in and out with the wind. The Moss neat and tidy. Precise rows of crops set out like bedding out plants in a nursery. A man burning rubbish on a fire in the distance, his car nearby, a child playing alongside it, and that shed.

"Mind if I come over" I shouted, thinking it was the Italian I'd met before. "No", he said. I started walking towards him and then realised I hadn't met him before. He must have thought my manner rather presumptuous. Fortunately, he seemed to know all about me, he said he'd seen me walking about taking photographs, he said he didn't have any objections if I photographed his land. It almost seemed he had been expecting me. We got talking. He explained he was tidying up the land before the season began (in March). I asked him what crops were in the fields. He pointed to a field of what looked like lettuce and said "spinach" and then turned to an adjacent plot and added "and cabbage". I got the impression, from what he said later, that this land had been sub-let to him by the Italian who owned it.

After a while I nodded towards the shed and asked if I could photograph it. He seemed surprised, "it's only a shed we use for storing boxes" he replied, and to prove it he opened it. It was packed from floor to ceiling with wooden boxes. Above the door was a poster headed "WILFUL DAMAGE", which warned of the penalties for vandalising property. The shed was isolated and vunerable. But this was part of its charm. To the right across the field there was a cluster of more substantial corrugated iron sheds. Tractor sheds I was told. They also looked forlorn and neglected, but again not without charm.

4 - 7 The man returned to his fire. I returned to the shed, and with his permission I began photographing it. These 3 shots show the shed at close quarters. 3 shots which because of some strange optical quirk make the shed look square, like a cube. The side in shadow is actually much longer than the other. In front of the shed is an area of crazy paving, perhaps once used as the base for another shed. To the left there is a small tree. The tree was bare apart from a bright red glove and an orange plastic cup which were suspended from a branch. I imagine the child I'd seen earlier had hung them there.

8 - 15 Further down the track towards Rayner Lane, the field of spinach sweeping towards the shed. These photographs might even have been stronger without the tree, but I could hardly dig it up.

Five very similar images just minor adjustments to the exposure. This was because I was relying on the light meter in the camera rather than my hand held Weston Meter, which I prefer and trust. It was in for repairs. Neg. no. 14 is probably the best of this batch.

16 - 18 The most successful photographs of the shed (although I didn't realise it at the time). Taken around the side of the building. These images show its patched up detail to best effect. On neg. no.16 you can just see Adzad (Albert Hulme later told me his name) emerging from behind the shed. The fire, to the right of the shed, is smouldering.

Rolleiflex 3.5F.

Agfapan 100 (80 ASA) Rodinal 1:60. 10½ mins @ 68°F.

<span class="wrapper"><p>Work Prints</p> <p>Negative c7/1/9/4</p> <p>Work Print c7/3/9/4</p> <p>CH : 465 mm</p> <p>Exposure : F22 @ 7s</p> <p>Paper : Gr 2 (G)</p> <p>Comments : In this print the shed and tree are very dominant in the frame. You can see the "WILFUL DAMAGE" poster on the side of the shed in shadow, and if you look carefully at the tree you can also see the cup and glove hanging from the branch. In the foreground is the crazy paving base and the edge of the field of spinach. A straight print which could have done with a little longer exposure.</p> <p>Negative c7/1/9/14</p> <p>Work Print c7/3/9/14</p> <p>CH : 510 mm</p> <p>Exposure : F22 @ 17s (- few secs top of sky + few secs for shed)</p> <p>Paper : Gr 2 (G)</p> <p>Comments : Slightly overprinted and a bit too contrasting, although I did try and control it by holding back the exposure on the sky by a few seconds and increasing it on the shed by a few seconds. I like the sweep of the rows of spinach towards the shed. I tried to convey the isolation of the shed and the stillness of the area. Could be printed better.</p> <p>Negative c7/1/9/16</p> <p>Work Print c7/3/9/16</p> <p>CH : 510 mm</p> <p>Exposure : F22 @ 19s (+ a few secs. for shed)</p> <p>Paper : Gr 2 (G)</p> <p>Comments : Once again a limited attempt to control the printing, once again a limited success. This print is far too contrasting, but I know there is a good print to be had out of this negative. The elements are all there, the black peaty foreground, the figure just emerging from behind the shed, and the light wispy clouds set against the backdrop of the radio masts. Note the petrol can leaning against the shed.</p></span>