Ashton Moss

The Moss early afternoon (1.30 p.m.), watery sunshine filtering through. Briefly explored a new area opposite Albert Hulme's, I was attracted by a light coloured corrugated shed in the distance. I walked down the track towards it, liked the look of it. Made a mental note to return to it when the sun was around the other side (i.e. when it was striking the side nearest the track).

1 - 6 Turned around to walk back to Albert Hulme's, this is the view what I was confronted by. Took 5 photo's (the film must have slipped because ½ of the first frame is missing), carefully adjusting the exposure, to take account of the slight variations in the light, together with the camera angle.

I'm quite pleased with these negatives, considering the low level of light. Again something perhaps to return to.

7 - 16 Walked down the track to Albert Hulme's. I'd decided following my conversation earlier in the day with Mr. Hulme to take a closer look at his sheds. As soon as I started to cut across his land the dogs started barking. "They're locked up in the sheds", I said to myself and carried on until I was facing a long shed with a white door (neg. no. 7). The dogs went beserk in the sheds to the left and right of me.

I looked around me. There was a great cluster of buildings : greenhouses, sheds, garages, huts and the remains of cold frames. Some of the buildings were numbered randomly : 3,10,5. In one enclosure there was a pile of old boxes. In another corner an upturned bath tub, rusting. The long shed was repaired at one end with old "Capstan" and "Navy Cut" signs. It looked great. I walked along the track and peered into one of the greenhouses there were blobs of snow on the floor which had fallen through the holes in the roof (a number of panes were missing). I returned to my camera (by the long shed). The dogs were now silent. I began to slowly set up my gear. I moved my camera into position by the long shed and was about to start shooting when I realised I'd lost my cable release. I paused for a moment, looked around me.

I couldn't see it. No point in searching for it could have been anywhere. So I worked without it (at least it was calm and I was using fairly fast shutter speeds).

With the exception of neg. no.7, which was a general shot, I concentrated on the section of the long shed which I included the old "Capstan and Navy Cut" signs, which particularly interested me. I also wanted to try and emphasise the lines of the telegraph poles and wires.

I tried to make the best of the subdued lighting, but it wasn't ideal. However, I'd seen enough to know that another visit in more favourable conditions would be worthwhile.

I packed up my gear and walked away. On my way out I looked up at the "ALBERT HULME" sign and noticed, for the first time, that in the bottom right-hand corner it was signed like a painting:-

"W.E. HULME 1961".

Rolleiflex 3.5F

Agfapan 100 (80 ASA) Rodinal 1:60. 10¾ mins at 68°F.