Synopsis

In the dying light of a late afternoon in the spring of 1994, overlooking the rugged beauty of Three Cliffs Bay on the Gower Peninsula in South Wales, a photograph was taken of the shattered, medieval remains of Pennard Castle that was to provide the inspiration for what has become the project: ‘Photographs of Ancient Britain’.

The perception that fleetingly manifested itself in the half-light was that this once proud and fearsome edifice seemed to recover much of its dignity, and in a way at least, began to dominate the cliff top with the vestiges of authority that it must have once possessed serving the overlords of a brutal and feudal Britain, 700 years ago.

It is of course easy to get carried away with woolly romanticism and extravagant, fanciful interpretations, especially when trying to define something that is not tangible; but it’s true to say that alone, amongst the fractured walls and crumbling masonry, the illusion that coalesced under the gathering darkness was that the castle remains appeared less diminished than under the full colour of a summer’s day.

If anything, the desolation enveloped beneath the subdued, almost monochromatic light, added to its appeal; not just the aesthetic – though this of course plays a part – but in the sense that the dereliction served a purpose.

Much in the same way that a headstone commemorates the life of the remains that are interred below, so it is that the crumbling relics that are embedded within the very fabric of the landscape act as a collective memorial to the lives and events that have gone before. However ruinous, they are beyond value in the sense that they serve as both the repositories and guardians of the nation’s historical and cultural legacy.

The eminent historian Michael Wood, wrote in the introduction to his book ‘In Search of England’ that: ‘landscapes too have a language, that can be deciphered’ and if this is true, then photographs can surely play a part in their interpretation, helping to clear the mist of the centuries, lifting the veil to allow perhaps just a glimpse into what Alfred Lord Tennyson referred to as ‘the eternal landscape of the past’ (In Memoriam pt XLVI). 

And so it is then, that Sharpfoto is dedicated to creating finely crafted, aesthetically sympathetic and truly archival photographs of as many facets of Britain’s heritage as is possible; but above all, in a style that attempts to preserve the pictorial integrity that was first aspired to wandering amongst the sand of the ruins of Pennard Castle all those years ago.

Here, the monuments themselves take centre stage. All of the more mundane and restrictive commercial considerations are subordinate to the desire to convey the deeply enigmatic and atmospheric nature of these monuments in the context of the landscape that bears them.

Whether this has been successful is for others to judge.

The Photography

All of the photographs that are displayed on this website have been created by Andy Sharp. One of the last generations of photographers to have been comprehensively tutored in all of the classic imaging and photomechanical techniques, this education was supplemented by an apprenticeship under the guidance of a hugely experienced and knowledgeable photographer whose insistence on technical proficiency not only proved to be immensely influential, but has endured.

After qualifying with a Distinction in Photography from the Berkshire College of Art and Design, a further four years’ study culminated in a BA (hons) degree in Photography from the University of Westminster, London.

Fifteen years as an in-house photographer for a large English manufacturing company that is the world leader in its field, has led to extensive experience in a broad range of photographic disciplines from the earliest film and chemistry-based techniques, to the latest high-end digital systems and software.

It is this knowledge, in conjunction with an enduring fascination with history and a desire to create aesthetically sympathetic, atmospheric and truly emotive photographs of the highest quality, integrity and permanence that forges the underlying principles of the Sharpfoto philosophy.

The images that can be found displayed here have been captured onto large format black and white film using a Wista DX, technical field camera. Constructed from seasoned Rosewood with leather bellows and brass fittings, the blueprint for this design dates back to the earliest days of photography in the middle of the 19^th century. In the midst of the digital revolution, this approach may appear hopelessly anachronistic, but in the right hands, the high-end, classic analogue photographic techniques are still capable of outstanding results. It’s not the place here to enter into a discourse regarding the merits of digital technology vs the classic photographic techniques. For those interested, a comprehensive overview can be found in the technical section on this site. It is enough to say here that the end always justifies the means: the only aspect of the photography that should be judged is the finished print. It is incidental how complicated, expensive or time-consuming the journey was to get there.

The photographs

All of the photographic prints produced by Sharpfoto have been created using the highly regarded Platinum/Palladium process. This refined and exclusive technique is universally admired for the wonderfully rich tonality that it is capable of recording and for the fact that its images cannot fade. Detail in even the deepest shadows, and a delicate, subtle quality to the highlights allows this process to produce beautiful, almost beguiling images that transcend the luminosity and permanence achievable by all other methods of commercial reproduction. All of the photographs produced by Sharpfoto are manufactured exclusively from grains of pure platinum and palladium (rare and closely related precious metals) printed onto hand-made, lightly textured, acid free, 100% cotton, museum grade paper. As befits many of the important subjects that are represented here, the harsh sunlight of the decades cannot diminish these images, nor can they be easily attacked by atmospheric pollutants. High quality Platinum/Palladium photographs are capable of out lasting many, many generations; hundreds – if not a thousand years. As with the photography, an extensive technical section covering the photographic paper and print making in more detail, can be found in the technical section on this website.

The Landscape

Occupying less than 90,000 square miles – roughly the same size as the U.S. state of Oregon – Britain has a long, prolific and eventful history that spans the millennia and can be traced back to the end of the last Ice Age, around 10,000 years ago.

Said once to be: ‘the land of scholars and the nurse of arms’ (Oliver Goldsmith: The Traveller), this tiny, weather beaten group of islands, alone in the cold waters off the northwest coast of Continental Europe, contains a greater concentration of castles, religious buildings, prehistoric monuments and relics from the early industrial epochs, than any other country in the world; a legacy from the nation’s prolific and disproportionate involvement in the cauldron of world politics, shifting allegiances, diplomatic chicanery and endless conflict that has both characterised and blighted humanity since the beginning.

It has been said that a country without ruins is a country without history; and in a sense this must be true, for they are our only tangible link with the past, and by proxy, the people that have gone. They are the conduits through which history comes alive: 8000 years of history and human endeavour, indelibly etched into the fabric of the landscape – the quarry that is plundered to build the foundations of the edifice that underpins the nation’s identity and the basis on which it is judged/perceived by others.

It would be practically impossible to scratch the surface of any part of Britain’s landscape without uncovering a rich vein that represents at least some part of the nation’s deep historical stratification; either in the literal, archaeological sense or by a real or perceived association with a powerful character and/or event, both real or legendary.

Sometimes an ancient chronicle or long lost reference to a place that appears in legend can transform the way in which the landscape is perceived. Britain of course, is home to some of the most famous and enduring legends of all time: From King Arthur and his mystical kingdom of Camelot, to Robin Hood and Sherwood Forest and the fabled ‘Middle Earth’ of Tolkein’s epic trilogy: ‘The Lord of the Rings’ there are many locations in England and Wales where these magical tales resonate most strongly. Whatever views are held on legends and myths - many have been so important, for so long and by so many people, that they now form an intrinsic part of this island’s story and, through its literature, a profound influence upon the modern world.

For those prepared to look, the landscape can serve as a backdrop to illuminate the lives of some of history’s most enigmatic and inspirational characters. With a little imagination, fantastic stories of epic battles and desperate struggles punctuate the millennia and reach out to us like dimly lit beacons from the dark hills of pre-history. It’s possible to stand on the sodden turf of some bleak moor and, as the mist rises and the light thins, to imagine: ‘old, unhappy, far off things and battles long ago’ (Wordsworth: The Solitary Reaper), To climb to the top of an ancient hillfort is to survey a scene little changed from those who chose to stand firm against the might of the Roman Legions, or perhaps to pace the rolling hills where the Anglo-Saxon Chronicle records (with astonishing brevity) the unimaginable brutality and bloodshed of countless battles between the English and the Vikings.

It is perhaps a lofty ideal, but these photographs are intended to act as a photographic journey across this ancient landscape. From the enigmatic and mysterious prehistoric burial chambers and stone circles, the atmospheric Iron Age hillforts, the remains of the Roman occupation and the deeply inspiring landscape of the Dark Ages; to the battered shells of medieval castles that still dominate the hilltops, the peaceful and serene abbeys and the corroding relics of the world’s first industrial nation – the catalyst that launched Britain from a tiny war-faring island to custodian of the largest empire that the world has ever seen; it is hoped that one day, a significant proportion will be represented here.

Acknowledgements

If there is any credit to be taken from the work that is displayed here, then it is important that those who have contributed are properly recognised. First and foremost is the inestimable amount of work conducted by Matt Sugdon.

Matt, who has a phD in chemistry in from Leeds University, has undertaken extensive research into a wide range of photomechanical print processes from the earliest (and often largely forgotten) chemistry based techniques of the 19^th century, to the technology behind the very latest digital printing systems. This depth of knowledge allied to extensive development work, helped identify the optimum route in order to satisfy the most exacting photographic standards irrespective of cost or complexity.

Using Dr Mike Ware’s new and highly acclaimed Platinum/Palladium process as a base, this exhaustive research has resulted in the creation of a unique variant of this exclusive process to ensure that Sharpfoto can offer photographs that demonstrate the outstanding quality and unrivalled image permanence that this exclusive process is renowned for.

Nick Pearson, a process chemist with extensive research and development experience in the paper making industry, has been responsible for developing ‘Highclere’: a high quality, hand made paper exclusive to Sharpfoto. This high base weight, textured material has been optimised for the Platinum/Palladium process. Manufactured from the purest cotton fibre, HighClere is acid free and does not contain optical brighteners or other additives. This guarantees that the paper exhibits the highest archival standards that are achievable.

Matt Sharp of Sharpdesign.co.uk has provided extensive graphics support and technical backup and kindly allowed the use of the Sharpdesign studio in Gerards Cross, Buckinghamsire. The artwork of the Anglo-Saxon helmet shown on the home page is © Sharpfoto and has been derived from the example held at the British Museum in London. Clare Lloyd Williams has made a valuable contribution and has been responsible for significant improvements, corrections and recommendations. Mitchell Woodmen has been responsible for extensive site research and has provided welcome photographic assistance on many occasions. Zoe Feast of Indigo Image Llc is responsible for the website design and has provided a rapid, knowledgeable and helpful service over the years far in excess of what might be expected in relation to financial remuneration.