This is a version of an article I had published in the January 2018 issue of Black and White Photography Magazine, to which you can subscribe here.
For the past two years I have been photographing a short section of the River Rothay in the Lake District, roughly between the eastern end of Rydal Water, and the historic Ambleside stepping stones. The project began in the aftermath of Storm Desmond, an Atlantic storm that delivered unprecedented rainfall to the mountains of Cumbria, and Northern England. I have heard passing tourists compare this stretch of the Rothay in summer to a Cotswold stream. But on December 5th, 2015, the Rothay transformed into a raging giant fifty metres wide, carrying branches and debris from miles upstream, smashing bridges, and sweeping away many of the stepping stones themselves. It peaked at a record 3.71 metres, a whopping two metres above the level at which the UK government’s Flood Information Service says flooding is possible.
I began by documenting the strange effects of the flood: fences tightly woven with grass and leaves, large stones flung across sheep pasture, and turf rolled up like a carpet by the force of the current. Since then, it has been the Rothay’s quieter moods that have held my attention. Over the course of a long project it is necessary to look at the same scene differently, not only because the scene itself changes, but also because you see it differently over time. While working on my Rothay project I’ve used both film and digital cameras to document the changing landscape, to capture the strangeness and unfamiliarity of the aftermath of the flood, and the slow return to normality.
After almost two years I am beginning now to edit my images into a coherent collection, but when I had the opportunity to visit the Rothay with Sigma’s SD Quattro H and 18-35mm F/1.8 lens, I wondered whether an unfamiliar camera might help me find a new perspective on familiar territory. In particular I wanted to explore whether it might complement my medium format film images. The answer rather surprised me. In an early morning experiment I pitted the SD Quattro H against my Yashica MAT 124G and a roll of Fujifilm Acros 100.