Duckspool is a fairly
isolated farm situated down a narrow lane somewhere near Bridgwater, in a part of Somerset
that is steeped in English history and where tales of events, mythical and otherwise
abound. That a centre for photography should be based here seems unlikely; when told that
the centre attracts Internationally known photographers thoughts of the history of
mythical tales spring to mind and the tendency is to dismiss the story and return to
reality. Not so, for ten years ago Peter Goldfield he of Goldfinger fame, the photographic
supplier not 007's adversary, left the smoke and stress of London to set up
"Photographers at Duckspool". I first made contact
with Peter Goldfield when he ran a high street chemist shop in Muswell Hill, London. One
corner of the shop was dedicated to black and white Fine Art photographic materials which
were not available from the normal photographic retailer. In a relatively short time the
photographic stock spread and took over the whole shop and Goldfinger was born.
Peter continued to serve the Fine Art side of photography for a
number of years and then decided to settle for a less stressful way of life and in 1985
moved to Duckspool in Somerset where he started the workshop centre. From the beginning he
set very high standards by inviting leading photographers from the UK and America to tutor
the workshops. I chose to attend The Charles Harbutt Workshop because I had seen some of
his work at Salford in 1980 and have never forgotten it's quality and content.
REALITY OR NOT - THE HARBUTT WORKSHOP.
Charles Harbutt is a name that is not widely known in UK
photographic circles but his credentials are impressive. A journalist who has covered wars
such as the Cuban Revolution in 1959 and the Six Day War in 1967 as well as working for
Life, Paris Match and Newsweek, Charles was also a member of Magnum from 1963 to 1981 and
twice it's president. He has exhibited widely both in one man and group shows and is also
extensively published. In 1981 he founded Archive Pictures Inc., an international
co-operative. He is currently Professor of Photography at Bard College in New York.
The Harbutt Workshop is a 6 day event which was described to me by
another participant as a period when "Charlie takes you apart and then puts you back
together again". The workshop covers periods of discussion, where Charlie assesses
work and gives talks on aspects of the aesthetics of photography, and photo assignments,
based on the talk that Charlie has given that morning.
The days assignment is completed and exposed films are handed in to
be developed by Chris (who did sterling work developing numerous films and making
contacts) before 6pm each evening and the results are discussed the following morning. In
total there are four assignments to be completed during the six days of the workshop.
I will not divulge the various assignments but I will say that they
appear to be relatively simple and back to basics. However, when faced with the task of
making images to complete the assignment you realise that you are being made to think very
deeply into the reasons for making photographs. This is also brought home when Charlie
carries out a deeply probing assessment of the work, and the photographer, each day.
Having completed all four assignments, the final two days are spent
in assessments of the work carried out. Each participant is required to make a number of
prints from the assignments given and a final presentation of five prints, selected from
those prints made, is assessed by Charlie and is also open to group discussion. The
results can be very revealing.
THE ASSESSMENTS. Showing your work to a photographer of Charlie
Harbutt's standing, and in a group environment, can be a very intimidating experience. We
are all uncertain about aspects of our photography and assessments given without care and
sensitivity can have disastrous effects on some photographers.
The Charlie Harbutt approach has no such minefield to negotiate, for
whilst he is positive and probing with his questions there is also an understanding and
sensitivity present that removes any uncertainty that the photographer may have. Questions
that are not fully understood or answered are re-phrased and the photographer is guided by
Charlie until the answer is clear in that photographer's mind. The patient probing
continues until the photographer begins to grow in confidence and realises that the image
being discussed may be more significant than he first thought.
Charlie frequently reminds us that what was at first considered a
bad photograph often turns out to be the significant or telling image when viewed at a
later date. Over the six day period Charlie makes the photographer look at his particular
approach to photography in a way never before considered. At some point along the way the
photographers realise that they, and not Charlie, are taking themselves apart and putting
it all back together again but in a different way. Charlie unlocked a few doors and acts
as a wonderfully sensitive catalyst.
Not only is Charlie a fine teacher and motivator but he also has a
host of interesting stories, about both photography and life, delivered with a gentle
humour which probably sums up the man. The Harbutt Workshop is an experience that I will
never forget and can recommend to any photographer who wishes to learn something about
photographic style and motivation, not to mention what he may learn about himself.
DUCKSPOOL - THE VENUE.
Duckspool is an old farm that Peter and Sue Goldfield have
established as one of the leading workshop centres in the UK. Up to 25 workshops are run
between March and November each year with a wide range of tutors covering most aspects of
the photographic art and craft.
British photographers such as John Blakemore, Fay Godwin and Paul
Hill regularly teach their specific skills in what can be termed traditional photography
while the ever increasing interest in Electronic Photography is catered for by Martin
Rieser and Peter Goldfield.
Magnum photographer Leonard Freed and Landscape photographer Charlie
Waite are also regular teachers at Duckspool along with a number of other well known
personalities in the world of photographic lecturing and teaching. Workshops run from 2 to
6 days and the fees which range from £190 to £370 include all food and accommodation
although reductions are given should you wish to stay in alternative accommodation.
The quality of the food is first class and would not be out of place
in some of the more expensive restaurants around the country. I would in fact offer a word
of advice to anyone thinking of attending a Duckspool workshop, embark on a strict diet
before you go. I was not alone among the ten participants of the Harbutt Workshop to leave
Duckspool a few pounds heavier than when I arrived six days earlier.
I have always believed that the workshop environment is one of the
best ways to learn about photography; ideas can be discussed and shared with like minded
people who are likely to be from a totally different background and who probably have very
different beliefs. With the right leadership and organisation participants are bound to
benefit from this type of exchange and all these ingredients are there at Duckspool, the
workshop centre that is most certainly a reality in the narrow lanes of Somerset.
Les McLean
June 1996
