Folkingham
12 creative works found
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Sign between Billingborough and Folkingham, Lincolnshire. / /
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Seafreight containers lining the north end of the runway at RAF Folkingham. Presumably they contain machinery spares that are too valuable to be left to the elements… The sky has ‘ghosted’ slightly as the clouds have moved from exposure to exposure, but I rather like the brooding quality that imparts
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Operating on the principle that the best shot you never take is the one between where you park your car and where you intend walking to, I shot the first thing after lockng the door, which just happened to be this cute and funky little dozer fitted with some sort of front mounted pump or compressor. As to the processing, not much really! – A bit of burning and a split tone. Aaahh… the joy of stormy skies!
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This Eimco quarry loader may well have been made in India – it seems they’ve long cornered the market in rock extraction equipment… Anway, the squat, thick-set construction caught my eye as did the ghostly faded blue/grey. What a huge, uncompromising beast. Lovely!
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Perhaps the only actual piece of JCB equipment I saw at the ‘JCB Graveyard’,- this is the controller for the ‘backhoe’ of a tractor. You can see the main section of the backhoe arm lying behind… Had I have left this shot as full colour it would have been full of rather busy yellow paint & red leaves so I chose to isolate the subject instead.
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Powerplants stripped from dozers and excavators piled up at RAF Folkingham, awaiting repair or more likely disembowelment for spare parts. Hunkered down from the bleak wind, and shielding the lens from rain with my glove, I had a feeling it would all be worth while. Without blowing my own trumpet too much, I think this’d look great on a µ-Ziq CD cover…
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My favourite piece of machinery – a giant dozer, with spudded rollers, of the sort you might see mashing up a landfill site. To give you some idea of scale, the ‘landing’ outside the driver’s cab is 10ft above ground. This is one serious Tonka Toy, and in almost drive-away condition from what I saw. The title comes from a segment of the Hindu ‘Bhagavad-Gita’ made [in]famous by Robert Oppenheimer on July 16th 1945. Although, given this shot was taken in Lincolnshire, perhaps it should be called ‘Destroyer of Wolds’ instead..?
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Strangely, I made this B&W toned version first – whilst pondering how best to treat the original colour shot. I couldn’t choose which interpretation I liked best, so I decided not to!
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Far from being a Brian Eno reference, I noticed, some time after processing, that my favourite Tonka Toy does seem to be bearing down on a rather lush & verdant tree. Some sort of comentary on the ravages that industry inflicts on this little green world of ours? Possibly, I just know this dozer rules. It was so big that I couldn’t get all of it in the frame – given the clutter around me. It was a bit like trying to understand the size & shape of an elephant when you’re only 3ft away from it!
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Maybe you’d guessed from the title, but David Bowie’s ‘Ashes to Ashes’ was a major [tom] influence on this shot. The video for the song was the most expensive in the world at that time – $250,000 – and featured some of the most extreme image manipulation ever seen. Rather than the solarized pink of the ‘dozer procession’ scene, I opted for a colour infrared palette to recreate the look and feel I wanted. “My mother said, / to get things done, / you’d better not mess with Major Tom”
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The final rusting place of what once would’ve been a brute of a dozer, judging by the sheer bulk of the little that remains… It did suprise me that the front end of it’s running gear would’ve been mounted on little more than a giant leaf spring bolted through the rocker mount at the left of the picture. Quite what this has going on at the rear I don’t know, but those ‘intakes’ [?] look very Maschinen Krieger indeed. Either that or RAF Folkingham doubled for Mos Eisley spaceport some time in ‘77.
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For such a huge beast I wanted to make a special effort, so for this shot I employed infrared which was bracketed and tonemapped, then carefully resharpened, followed by about 1 hour of burning every little bolt & detail to convey the weight and ‘purpose’ of the original machine, and for finishing touches a delicate sepia tone…
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