Agricultural machinery photography

JCB Fastrac for Farmers Guardian

I have quite a large collection of images of agricultural machinery so it seemed like a good idea to group a few of them together on my website. The pictures in this post have all been produced for editorial commissions.

The JCB Fastrac Icon images were for a story comparing the new model with its predecessor, a lot of the differences where in the technology controlling the vehicle so a lot of the images focussed on the cab.

JCB Fastrac Icon

JCB Fastrac new and old versions compared

JCB Fastrac new and old models compared

The Merlo tele handler was a full electric model and the shoot involved demonstrating the machine undertaking the type of jobs it might normally be given on a farm.

Merlo e-worker

An empty barn was used to shoot the vehicle which provided a less cluttered background and gave me more control over the lighting. I normally have a car full of lighting equipment for this type of picture.

Merlo e-worker

Often there is no time to take posed studio pictures and I just have to shoot the demonstration vehicle at work. The Unimog shoots were taken during a busy harvest. A brief technical problem with the combine gave me a few precious minutes to take a few more controlled images.

Unimog U435

Unimog U435 alongside combine

Unimog U435 on the road

Unimog U435 alongside combine

The weather was so dry that the vehicles were surrounded with huge dust clouds. This gave me the opportunity to capture a few extra atmospheric images of the huge Case combine harvester.

Case 9230 combine harvester

Case 9230 combine harvester in dust cloud

Fendt 516 tractor

To find out more about the photographic services, I offer, please email me at mail@nigelgoldsmith.co.uk

Darkroom training and consultancy for schools

I am often asked to visit schools to help set up a new, or reinstate an old darkroom and train the staff or pupils on film processing and printing in the darkroom.

As a photographic artist, the darkroom plays a key role in my practice and allows me to produce images that would be impossible using digital techniques. I have also taught analogue photography and darkroom practice to students from GCSE to degree level and recognise the points where mistakes are often made and have developed teaching methods aimed to reduce student error.

I have also helped to develop lesson plans which can help to lesson the learning curve of analogue photography and darkroom practice.

Nigel sparked not only confidence in us, in what we were going to teach the students but also newfound enthusiasm for the process. Whilst with us Nigel also spent time checking out, advising, and helping organise and clean our current darkroom that hasn’t seen much love. He advised us on best practice and items to purchase to make what we had already easier to use and more effective, he even brought along his own kit as examples and to demonstrate techniques to us. Emma Hart, Curriculum Leader, Sandy Secondary School, Bedfordshire

Darkroom consultancy services;

I can visit your school or college to assess an existing, but unused darkroom and suggest how it may be brought back to use.
I can provide guidance on darkroom layout, health and safety, and buying equipment and consumables for a new darkroom.
Provide training to staff and students on; camera less photography, analogue photography, film processing printing and experimental darkroom techniques
For schools without darkrooms that would like to see the potential of analogue photography, I can also bring a small temporary darkroom which can be set up in a classroom for a 1 day darkroom taster workshop.
Quick 1 hour online darkroom review (please contact me to discuss this service)

If you would like to know more, please email me or call on 07973 631185

Training staff from the art department at Chadwell Heath Academy

Salon des Refusés at Aberystwyth Art Centre

Shortly after being told that my work had not been selected for this year’s ‘Y Lle Self’ (the art place) at the National Eisteddfod in Wales, I received an invitation to show my rejected film at the Aberystwyth Art Centre as part of their Salon des Refusés exhibition.

The original Salon des Refusés was set up in the mid 19th Century by artists that had been rejected by the annual Paris Salon and decided to show their work in an alternative venue. The salon soon became a space where the many of the early impressionists could get their work seen by the public.

The Palais de l'Industrie, where the event took place. Photo by Édouard Baldus.

The Palais de l’Industrie, where the Salon des Refusés took place. Photo by Édouard Baldus.

Despite not making it to the Eisteddfod itself, the work in the exhibition was of a high standard. I was proud to have my film shown in such a great venue alongside a wide range of work produced by over a 100 highly accomplished Welsh artists.

Ffion Rhys, the exhibition’s curator selected Passing trade (Masnach sy’n Pasio) for the show. This work was screened at the John Ruskin Prize and the Small Axe Film Festival in 2019 but hasn’t been out much since so it was great for it to get an airing again in Aberystwyth.

Still image from Passing Trade

I have also included some images of other artist’s work from the exhibition.

‘Cranky’ by Peter Stevenson

Weeping, by David Garner

Gallery 2, Aberystwyth Art Centre

Agriculture and rural affairs

Agricultural Photography

Jess Palmer, student at Royal Agricultural University

Portrait of Jess Palmer, Agriculture student RAU

I had the good fortune of growing up on a dairy farm in Pembrokeshire so love the opportunity to put my wellies on and take pictures down on a farm. I was introduced to farm photography at an early age. As a toddler I appeared in a story about my parent’s farm in the Farmers Guardian. Over the years, I have photographed most aspects of farming life. Below you will see a range of images I have taken on farms and markets across the UK.

Feature on young sheep farming family in Dorset for Farmers Guardian

Going through the shooting brief with my subjects - cow photography

Going through the shooting brief with my clients

Lifestock

Cows make great subjects, they are naturally curious and with little encouragement will come right up to you in a field. While this makes close-up shots easy, you cannot put your camera bag down for long or their curious noses will leave a trail of drool over all of your kit.

Brown Swiss Cattle, Rancourt Farm near Swindon

Brown Swiss Cattle and Friesians , Cancourt Farm near Swindon, for National Milk Records

Free range hens

Ewe and lamb in field for Farmers Guardian

Ewe and lambs – Farmers Guardian

Ewe and lambs for Farmers Guardian

Brown Swiss Cattle, Cancourt Farm near Swindon for National Milk Records

Piglet, Newton Farm for Farmers Guardian

British Blue bull in field for Farmers Guardian

Free range pigs for Farmers Guardian

Turkey for Farmers Guardian

Location portraits

Every visit to a farm requires portrait images of the people behind the enterprise. I always try to provide atmospheric images that give a sense of the day to day working environment though the shot might be taken in the farm kitchen or in the middle of a field.

Portrait of farmer sitting in off road vehicle

Portrait of sheep farmer for Farmers Guardian

Portrait of dairy farmer for Farmers Guardian

Male farmer sitting in field with 3 sheep dogs and sheep in distance behind

Sheep farmer with dogs for Farmers Guardian

Male farmer leaning on Land Rover with red flag of military firing range in background

Portrait of beef farmer on Salisbury Plain army range for Farmers Guardian

Ben Reynaldo and his free range poultry unit for Farmers Guardian

Portrait of tractor driver for Farmers Guardian

Portrait for Farmers Guardian

Portrait of Tim, Kingsclere Estate for Farmers Guardian

Rob Addicott – Manor Farm near Wells for Farmers Guardian

Will and Dawn Hawking, owners of Marshfield Farm Ice Cream

Farm Profiles

Farm profile for Farmers Guardian

If I am asked to photograph a farm profile, I normally try to document every aspect of the farm to provide an in depth record of the business and the people behind it.

Farmer and sheep for Farmers Guardian

Hand shearing for Farmers Guardian

Gwen the farm dog

Market

Market photography is very different to farm photography. The pace is fast and there are normally people and animals everywhere. Moving around the market quickly is difficult so you often need to find a few good spots to work in before the auction starts, and introduce myself to the auctioneers well ahead of the main event.

Frome Lifestock Market – auctioneer for Farmers Guardian

Sheep at the market for Farmers Guardian

Diversification

Quite a few of the farms I have worked at have diversified into other product lines or services from ice cream and cheese to clamping pods. While I am on the farm it is normally quite easy to pull out a set of lights and set up a temporary studio in a barn or farmhouse kitchen to get some product shots or portraits of the staff or owners of the farm.

Picking strawberries for Farmers Guardian

Packing strawberries for Farmers Guardian

Sorting strawberries for Farmers Guardian

Community Garden – part of Elims Direct Access Community (DAC) for rough sleepers at Manor Farm near Wells for Farmers Guardian

Agricultural machinery

Images of machinery for advertising, promotion and editorial applications.

Merlo – Eworker electric tele handler for Farmers Guardian

Case Axial Flow 250 combine harvesting wheat

Case Axial Flow 250 combine harvester for Farmers Guardian

More information on agricultural photography

If you would like to know more, give me a call or drop me an email

Agricultural clients include; Dairy Farmer, Farmers Guardian, NMR, Cow Management Magazine, Marshfield Farm Ice Cream.

Overview of Nova Darkroom Tent and adaptations

Introduction

I often have to deliver on-site darkroom training to individuals and organisations who do not have an existing darkroom or space which can be converted temporarily into one. Over the last few years, my solution has been to take my own small portable darkroom along with all of the normal printing and film processing equipment. When I was researching darkroom tents a few years ago, I remember struggling to find much information or reviews to help me make my decision. My clients would also tell me that they had struggled to learn more about temporary or portable darkrooms. To fill the gap, I thought I should put together a page that records my experience with portable darkrooms, specifically the Nova Darkroom Tent and the modifications I have made to it.

As far as I am aware, the two most popular purpose built darkroom tents currently on the market in the UK are the Ilford Pop-up darkroom and the Nova Darkroom Tent . Some people have had success converting tents designed for other applications. One of the cheapest alternative darkrooms are grow tents, these have highly reflective interiors and designed mainly for ‘specialist’ forms of horticulture. Some photographers have converted ice fishing tents, these are designed to be erected and packed away frequently so may be more robust than the grow-tent solution.

Around 15 years ago, I was loaned a Nova tent which I believe had been used previously by the military as it had a few ‘non-standard’ modifications. When it came to buying one myself, I bought the Nova as it was the product I was familiar with. I have no experience with the Ilford version so I will mainly be looking at the Nova though some of my adaptations may also be possible with the Ilford model.

Nova Darkroom Tent set up in domestic setting

Nova Darkroom Tent, set up and ready for use

The Nova tent comes in a large bag with a draw string at the top but no carrying handles or shoulder straps. The fabric used to make the darkroom is quite thick and the frame is mainly made from strong metal tubes, there is also a large electric fan so the whole package is quite heavy and without handles isn’t easy to carry. I probably wouldn’t want to take the Nova up a mountain or off-grid, as the fan needs mains electricity. During my research into darkroom tents, I found a video by someone that has used the Ilford version on location for wet collodion photography. Pictures of the bag supplied with the Ilford model show that it comes with carrying handles.

Inflating the tent

The first step is to attach the fan and plug it in, if the door is zipped shut and all the ports are closed it should soon start to inflate. The fan is very quiet and quite slow so helping to unfold the tent and supporting the weight of the material helps to speed up the process. After about 10 minutes, I start to attach the frame to the inner. The tent should be fully inflated and supported by the frame after around 15 minutes. The fan can then be switched off and then only used when you need ventilation inside. The tent has a long ‘flue’ to vent fumes, one end emerges from a hole in the centre of the ceiling, the other end has a zip to close the flue for inflation and can be directed through a nearby window if required.

Left, air inlet with fan. Right, air outlet from centre of ceiling.

Setting up a Nova Darkroom Tent – time lapse video

Dimensions

The exterior dimensions of the tent are 117 cm wide, 117 cm deep and 200 cm high. The interior is approximately 104 cm x 104 cm and around 200 cm high as the fan lifts the ceiling when it is switched on. In addition to the air inlet, there are two light tight sleeves to allow cables into the tent, one at the bottom of the tent and one half way up. There is also a ‘window’ which can be opened from inside to allow external light to illuminate the interior, this can be really useful in the early stages of fitting out the tent before any lighting is connected up. There is a floor to ceiling zip (with velcro backing) running up the middle of the tent for access which is completely light-tight, I have found that the zip seems to get stuck quite easily so I avoid using it if I can (more about this at the bottom).

Cable entry points and window.

Interior

As you would expect, the inside of the darkroom is little more than an empty black box. Originally, the tent had a large white fabric pocket on each side which might hold a box of paper or other large flatfish lightweight items. I was worried that the white material might reflect stray light from the neg carrier onto the baseboard and so I have removed these pockets. Apart from the pockets, there were no obvious places to support items such as safelights, timers etc.

I assume that most people will be using these darkrooms to house an enlarger so a table would be one of the first additions. Nova offers their own table that fits the darkroom. I picked up a really solid 4 foot wide camping table for around £20 which fits perfectly in the tent.

Sadly, there is no way I could squeeze my De Vere enlarger into the tent so, as my main reason for using the darkroom is to take it out on the road I normally use a much smaller LPL C7700 enlarger in the tent. I really wouldn’t want to use anything larger than this as the top of this enlarger’s column still touches the ceiling of the tent.

Arranging the workspace

The first time I used the darkroom I realised that there wasn’t really enough space to have the enlarger and three 10″ x 8″ trays in a row. I needed to find a way to save some space and separate the wet and dry areas in the darkroom.

Nova darkroom tent showing set up with and without tray rack

Left image shows 3 trays in a row. Right, three trays on home-made rack

I can remember Jessops once sold a rack to hold three 10″ x 8″ trays above each other which was great for smaller darkrooms. Sadly these are no longer available so I had to improvise. I found what I think must have been a shoe rack in a charity shop for £5 which was the exact width of a 10″ x 8″ Patterson tray, all I had to do was cut off a couple of the lower shelves. This solution saved loads of extra desk space and provides some separation between the wet and dry areas. Eventually I will make or find another rack to support 16″ x12″ trays.

To provide a bit more storage space I picked up a cheap, wire shelf that hangs below the underside of the table which will easily accommodate boxes of 10″ x 8″ paper, scissors, lenses, filters, negative, sleeves etc.

Under table wire shelf

Safelights

I didn’t want table mounted safelights so I sewed some loops into the top corners of the tent made from old bits of webbing. I then attached loops of strong cord to the back of a couple of small safelights and used carabiners to link the lights to the ceiling of the tent, waterproof switches were then added to each of the cables where I could reach them. A white light has also been secured to a corner in the same way.

Darkroom timer

While I could easily use my phone as a timer I always like having a proper clockwork timer in my darkroom. With limited table space, I thought I would try to attach a small timer to the ‘wall’ of the tent. I had an old Smiths timer which had lost its base. I used pop rivets to attach some webbing to each side of the timer and fix velcro to the ends, hooks on one side loops, on the other. I then sewed a couple of lengths of velcro onto the wall. It was self adhesive but, the timer is quite heavy and the last thing I want is a timer to fall into a developing tray so I also secured the velcro to the wall with some more of my very amateurish stitching. I can also use this timer in my permanent darkroom by joining the ends of the webbing together to make a strap which can be hung from a magnetic hook on my drying cabinet.

Modifications to an old Smiths timer showing it fixed in tent and in permanent darkroom.

Drying prints in the tent

After fixing, prints are left temporarily in an orange water bucket (so I can see it) under the table. The prints are then taken to a nearby sink for final washing. If required, I can dry the prints in the darkroom. Crocodile clips can easily clip to the large seams between the ‘walls’ and the ‘ceilings of the tent. The fan doesn’t have an air filter so I would be reluctant to dry film in the tent unless it is kept closed for several hours with the fan off and nobody goes into it.

Prints drying on line attached to tent using crocodile clips.

Tent floor

The tent floor is made from the same material as the walls and ceiling and I would be a bit worried about damaging the fabric with the feet of the table or stools. I also found that if I dropped something on the black fabric floor it was very hard to find it again unless I switched the lights on. I found some large, colourful, interlocking foam rubber floor tiles which I think are for children’s play areas and cut them to the size of the space. The tiles are comfortable under foot and should reduce stress on the floor.

Foam rubber floor in tent

Entry zip

I have found that the main entry zip sometimes needs a bit of persuasion to open or close and the velcro behind it has started to separate from the material. I am a little worried that this might be a future point of failure so to minimise use, I hang a large 2 meter length of black velvet from the metal frame above the door which covers the entrance and blocks out almost all stray light. I now only use the zip if I am working with film or there is a lot of ambient light.

Final thoughts

The tent is very well made and should last me a long time. It is also very easy to modify (and I am sure the same is true for the Ilford model). My modifications have made it a much more comfortable place to work for extended periods. A well laid out, small darkroom can be a very pleasant place to work in, with everything in reach from a comfortable seated position. The ventilation offered as standard with the Nova tent is also a very welcome feature.

I am sure there are still things that I will do to the tent to make it better still. A replacement bag that is much stronger and has some carrying handles is top of the list. A rack to hold 16″ x 12″ trays would also allow me to make larger prints in the tent.

I am planning to use the tent in artists residencies which are often based in art galleries or other large, open spaces. I believe that the metal frame is strong enough to support an outer ‘skin’ which could be made from flexible melamine boards clipped to the tubular frame or fabric hung from the horizontal bars at the top. These temporary panels could provide information about a project to visitors, provide a white board or projection screen for workshops or training and a small gallery wall to display work. Watch this space……….

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