Lensbaby

North Coast 500 | Scotland Road Trip

In-camera pano shot on the X100V with the camera in the portrait orientation.

PHOTOGRAPHY AND TEXT BY DEREK CLARK

The road trip. It fires up a romantic notion in most of us; fuelled by everything from car commercials, old films of Route 66, and even childhood holidays from a time before every trip had to begin with a plane ticket. I started to get the urge for a road trip when I bought my fourth Land Rover, just a couple of months before COVID 19 appeared on the scene. This was obviously put on hold for the past 18 months, but with a reluctance to sit on a plane for multiple hours, the road trip became the best option. Not only that, after the various lockdowns during the pandemic, the urge to just hit the road and be free was pretty overwhelming.

The North Coast 500 is one of the worlds most beautiful and epic road trips. Starting and ending in Scotland’s most northerly city of Inverness. The choice of going clockwise or anti-clockwise is up to the driver, but we opted for the latter, travelling up the east coast fairly quickly, then slowing down to take in the epic rugged landscape along the extreme north coast and then back down the west coast. We camped, we stayed in hotels and we stayed in hostels. Wild camping is legal in Scotland and usually better than any campsite when it comes to pitching the tent in a great spot.

For a full week, I had no urge to pick up my phone and look at any of the garbage it’s connected to. The battery went flat and I couldn’t have cared less. I took an iPad and didn’t use it once. I took my kindle but didn’t read a single page. There was nothing but driving, photography, setting up camp, cooking and sleeping. It was just what I needed and just what I’ve been craving ever since.

The highlight of the North Coast 500 is the road leading to a remote village called Applecross. The road is called Bealach Na Ba and as far as I know is the highest road in the UK. A sign at the start of the road alerts drivers that it’s not suitable for large vehicles, caravans, motorhomes, or learner drivers. It has gradients of 1 in 5 and has hairpin bends. It doesn’t mention the vertical drops if you veer off the road, but you soon find that out.

We clocked up over a thousand miles on our 500-mile road trip, including the drive to Inverness and back. But we’re already planning our next road trip, but first, we need to get a roof rack to give us more space inside.

SHOT WITH FUJIFILM X100V, WCX100, X-PRO2, 18mm F2, LENSBABY COMPOSER PRO & EDGE 50 OPTIC

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Definition 36 | Libertas Restrictus

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PHOTOGRAPHY AND TEXT BY DEREK CLARK

Anyone who has seen the movie Braveheart will remember the character of William Wallace, played by actor/director Mel Gibson, cry out the word FREEDOM. Although a bit overused since the movie done the rounds, freedom is not something I've taken for granted. The ability to go wherever you like, whenever you like is not something all people in all countries are able to do. So I find the obsession in the 21st-century to obtain fame bizarre and self-destructive. Fame might bring the financial ability to afford to go wherever you like, but the freedom to walk down a busy street unnoticed is true freedom. To go where you like in total anonymity is bliss!

Coronavirus has removed or restricted freedom in 2020 and possibly into 2021. In the beginning, it looked as though lockdown was just a way to get people to stay at home so that the government could change the batteries in all the birds, but there was a shortage of toilet roll, not batteries, so I guess that wasn't true :o)

Freedom for me is to take a train somewhere and to wander for miles with a camera in my hand. Most of my pictures include people. But as a street photographer, I had no one to shoot on the streets, as a music photographer, I had no bands or musicians to photograph. As a musician, I had no audience to play to. Life really did come to a standstill.

But even now, I feel the rust taking hold of my photography and creativity in general. I don't have the time to shoot long enough to allow the brake pads to separate from the disks. There is a feeling of being trapped, fenced-in, and on the outside of where I want or need to be. Parts of the country, including where I live, are seeing increased numbers and more restrictions being re-introduced. So even now, as we move toward October and the long dark winter, there is as much uncertainty as ever. But I’m not ready to paint my face blue and shout FREEDOM. Not just yet.

What's He Building In There

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PHOTOGRAPHY & TEXT BY DEREK CLARK

“What’s he building in there? What the hell is he building in there?”
— Tom Waits

These pictures were shot with Tom Waits 'What's He building in there?' playing over and over inside my head. I've embedded the song from YouTube here so that you can listen as you look at the pictures.This selection of photographs is a sort of a metaphor I guess. The theme, the idea developed in my subconscious.

Windows are meant for seeing out more than seeing in. Sure we can walk up and peer in, but unless there is a light on inside it can be difficult to see what lies within. 

As we stand outside looking at those windows we have no idea what's going on inside. If you listen to the song it sounds like it could be something sinister. Replace windows for eyes, the room for your head. Is there something sinister in there? If you are a regular visitor to Kage you might remember a piece I wrote called IMPACT when my sister was first diagnosed with a brain tumour. Well, one tumour has become two and as I'm writing this she is back in the hospital with serious complications.

So what's being built inside our heads that we don't know about? We can look out and see so much beauty and so much shit going on around us, but we have no idea what's going on a few inches behind our own eyes. Isn't it strange how the brain gathers all this information from our many senses, right down to the tiniest hairs on our skin. Yet the stupid fucker can't tell what's growing on it's own surface.

Tom Waits - What's He Building

The Gentle Breeze Of The Blast

Photography & Text by Derek Clark

I had planned to follow-up my H2O post with another elements based piece about Air and decided to shoot something at Whitelee Windfarm on the 23rd of May. But that morning I woke up to the news that a suicide bomber had killed 19 people and injured many more at an Ariana Grande concert in Manchester (UK). More details found their way into each news bulletin as the morning progressed and the death total rose to 22.

I eventually got to the windfarm around 1:30pm and decided to listen to Ryuichi Sakamoto's latest album ‘Async’ as I began to photograph my subject. Ryuichi is in the middle of a battle with cancer and this album is heavily influenced by life and death. A perfect choice of music for this place and time. The mixture of vast open space with the eerie sounds of Async, mixed with the noise of the turbines that crept past my earphones. Then track 8 'Fullmoon' started to play and the voice of American author Paul Bowles spoke these words...

"Because we don't know when we will die, we get to think of life as an inexhaustible well. Yet everything happens only a certain number of times, and a very small number really! How many more times will you remember a certain afternoon of your childhood? Some afternoon that is so deeply a part of your being that you can't even conceive of your life without it. Perhaps four or five times more, perhaps not even that.
How many more times will you watch the full moon rise? Perhaps twenty, yet it all seems limitless."

Some of the victims of the Manchester bombing were children, the youngest being just eight years old. They'll never get the chance to look back on a special afternoon of their childhood. Likewise the countless others that have felt the wrath of western drones. It's all too easy after a devastating event like this, to see everything as good or bad, black or white. But there is no black and there is no white, only grey.

All pictures were shot with the Fujifilm X-Pro2 and the Lensbaby Composer Pro with Edge 80 optic. I used the Acros+R film simulation and applied a tone curve (S Curve), plus Clarity in Lightroom to the JPEG's. I also applied a vignette to some of the pictures. I shot RAW files too, but didn't use them.