On Landscape - Any Questions Private

Tim Parkin (00:01.617)
Cheers, everybody. Hello and welcome to a general chit chat between the Any Questions crew in a more of an American vlog style sense rather than our usual slightly intellectual capacity. We've all got whiskey, I think.

Mark LJ (00:04.43)
this.

Mark LJ (00:20.078)
Yeah, mine's called tea, obviously.

Tim Parkin (00:22.79)
So what have you got?

Mark LJ (00:24.536)
I've got Springbank 15 and because the bottles downstairs are for a slightly larger average.

Tim Parkin (00:29.732)
the whole bottle in there. I've got the very last regs of something that I remember. This was delivered via, there we go, way around. Delivered by Marta Littlejohn on Rannochamore one day.

Mark LJ (00:42.946)
That was a lot of work. I was telling the story to somebody a little while ago because they were asking about whiskies and I was talking about the concept we have of Christmas whiskies where I don't buy Rachel anything at Christmas and she doesn't buy me anything. Which saves me keeping receipts obviously because it's interesting to give your wife something it's like, that's lovely but have you got the receipt? I think on the very first Christmas whisky where we just

Joe Cornish (01:05.465)
No.

Mark LJ (01:12.59)
and I think I phoned you and said, oh, they've got an Octomore seven two in, in booths. And it was a silly, silly low price. And I said, I've got three bottles in the wrong view. And you said, Oh yeah, please get me one. And it's fantastic. Well, it was, it was 140 pounds sent to a hundred pounds.

Tim Parkin (01:29.862)
Yeah, because we tried it in the clacke again, didn't we? At £40 a shot.

Mark LJ (01:39.182)
And whenever you looked online, hundred sixty five was the cheapest you could find it. And if I remember right, I was bringing your bottle up and I was driving across Rannoch Moor. It was a cold, frosty morning. It was just absolutely gorgeous conditions. I thought, oh, that's Tim across there. So I swung the Land Cruiser off the road. can't remember who you were with, but I jumped out the car with a bottle. But I know you were with somebody else. And I just walked across the moor.

Tim Parkin (02:00.6)
Charlotte I think. no it wasn't I was I was with John Macmillan I think yeah

Mark LJ (02:08.398)
And just said, there you go Tim, that's the bottle of octomore. And I turned around and walked back to the counter. And I'm sure he was like, you can't.

Tim Parkin (02:14.469)
The best one is you had your camera bag and you open your camera bag as if to reveal the massive telephoto lens down the central section and it was just a bottle of whiskey handed across and it was very very nice.

Mark LJ (02:26.55)
Yeah.

Joe Cornish (02:28.474)
There's a lot people between a 70 to 200, they have 2.8 and a bottle of whiskey. They both fit in the same space.

Tim Parkin (02:33.754)
Hahaha.

think they're probably similar prices, the Octomores now, the Sevens anyway.

Joe Cornish (02:38.968)
Yeah.

Mark LJ (02:40.526)
If you could get a bottle of 7-2, would probably be retailing for quite a bit. There wasn't exactly a lot of them really.

Tim Parkin (02:48.196)
Well, there are people, people are trading them online. They're about £500 now if you want the 7-2.

Joe Cornish (02:53.982)
I must ask you, actually, are we going to major on whiskey here or might there be room for bit of talk about it?

Tim Parkin (03:01.318)
We touched on photography for a second if we're not there, I thought.

Mark LJ (03:05.664)
We did, we mentioned the civil New Englanders, I'm sure that's the photographic term.

Joe Cornish (03:05.828)
Well, let's.

Joe Cornish (03:10.222)
Ha ha ha ha ha

Tim Parkin (03:11.747)
Yeah, it's not like the I did a recent vlog in America with Eric Bennett and a few guys called Brews and Views, which is great, which is they said it won't be that long and ended up online for three hours cracking bottles of strange IPA's and things. And I had an intervention, I think they call it in America circles where they ganged up on me and said, Tim, you're not a photographer. You need to go out and take pictures. Do it now. Right. OK.

Mark LJ (03:25.171)
my god.

Tim Parkin (03:41.701)
They're not wrong. I mean, I've taken one photograph in the last year, probably. And that was with Joe. Yeah. But I always say I've taken one, I've taken lots of photographs, but I've only really taken one where I've sat down and done a landscape photograph. And I've since been out taking another one. But I've just been, I've been going out climbing and things instead.

Joe Cornish (03:47.47)
Was that the one you came out with me?

Mark LJ (04:04.034)
No, you've been living the life.

Tim Parkin (04:06.692)
When you're sitting inside with the cats, the momentum is real, the inertia to get up, to not move.

Joe Cornish (04:15.77)
Yeah, it's a funny one isn't it? We were discussing that the other day, that you know, would if you lived very close to your idyllic location, well Mark, you do though. I mean, and you do go out on a regular basis with your camera because you love to do it. And it's not that you don't love taking pictures Tim, but maybe you love climbing rock faces more these days. Who knows?

Mark LJ (04:15.949)
Well that was out of

Tim Parkin (04:37.836)
I think that's typically what tends to happen is I get... You do end up in a little bit of a trap and I've noticed this is you tend to want the best weather. You think, if I'm going to go out, I might as well go out in the good weather because I'm here, I'm going to get the best weather. And so you tend to poo poo the sort of like, no, it's too sunny. Whereas if you're on holiday up here, you just go out and do things.

Mark LJ (04:59.246)
What about climbing pictures? I look at Jimmy Chin. You know, you could be dangling at the end of one rope while Charlotte's doing some incredibly stressful overhang with, you know, some magnificent views in the background.

Joe Cornish (05:15.076)
free soloing it unprotected even yeah.

Mark LJ (05:16.876)
Exactly.

Tim Parkin (05:17.848)
Yeah, most of the times when I'm doing that I'm tend to be crapping myself rather than thinking about photographs. But yes, I do plan on starting doing that as well. I've got a couple of friends who have hired me to do some of their PR photographs for their climbing. And also a women's photography group have asked me to help out with a project to increase representation of women in winter climbing through inspirational photographs.

Mark LJ (05:47.064)
There was a bit of a spiel on Facebook a back wasn't there? was something that sticks in my head whether it was mansplaining.

Tim Parkin (05:56.524)
yes, about women's comments when they're out mountaineering I think. What people say to them. There's a lot of women guides and a lot of men are very patronising to them when they're out climbing. Like they'll ask their clients, if they're out guiding, they're the experienced one. They're taking a beginner climber out. Nobody ever asks the girl where the climbs are, what they should be doing or for help. They always ask the bloke. And there's a lot of much worse out there, sadly.

Mark LJ (06:01.292)
Yeah, yeah, yeah.

Mark LJ (06:08.568)
Hmm.

Joe Cornish (06:26.872)
I'm afraid that we can all come up with our own examples, can't we? My daughter is international journalist and when she was in India, every time she went to do an interview, she would take her male assistant with her and without fail, all her interviewees would address her assistant first. And it was very, very frustrating. Hey ho.

Tim Parkin (06:29.699)
Absolutely.

Tim Parkin (06:45.869)
Hmm, it's embarrassing.

Tim Parkin (06:52.408)
He's an interesting, I'll do a photography subject for a second, being as I'm talking about women representation. Every time we've run our competition or done events, we've always been criticized for the amount of women involvement in them. And the representation for women, everything I seem to have done for landscape photography has about

for men for every one woman involved in photography. Apart from the creative courses that I see people like Valda Bailey and Doug Chinnery working. Interestingly, I recently chatted with people who do mountain leader courses, outdoor courses, and it's exactly the same representation, the percentages between men and women. And I was wondering with your workshops, you and Mark and Joe do, what do you think?

the engagement are there as between men and women. Do think there's any reason why there are so few women engaged?

Joe Cornish (07:59.896)
Mark, do you want to go first?

Mark LJ (08:03.79)
think women photographers who run tours, I think, will attract a higher percentage, whether or not it's because ladies know that there are less chances of other ladies on tours. They look for the likes of Margaret Soraya, Valda Bailey, whatever else, and then go on tours where they maybe won't come into contact with people that are going to maybe talk over the top or do whatever. I don't know if people have had

issues, I mean I've heard one or two issues on big tours, I don't run big tours so it doesn't really affect me, where perhaps men have tended to ignore the women on the courses or perhaps acted in a more perhaps less gracious way.

Joe Cornish (08:50.468)
so realistic.

Tim Parkin (08:53.097)
Yeah, so the same old story really again.

Mark LJ (08:55.278)
I mean, have to say, probably it won't be a third, maybe a quarter. Two are just finished there working out at Cowland, which was which was a lovely, lovely, spell three people, one lady and going back through. It wouldn't be every course, it would have one lady, two, would be more likely to be for every three courses, there might be two.

Women.

Tim Parkin (09:26.195)
Okay, yep.

Mark LJ (09:30.018)
that would be at a maximum. But then again, I don't know how many women are out there photographing. when you know, when we talk about Margaret Soraya, I mentioned her name before there, she she runs a mindfulness well, Joe knows because he went to one after I did and they had a very high percentage of ladies. And I have to say, you he looks at like a Sandra Bartoka and and and Valda, we just mentioned before and Margaret herself.

The creative side seems to be far, far higher. seems far more creative women, whereas the men tend to be maybe the men are more gearheads, factual, representational, less imaginative photography.

Tim Parkin (10:01.969)
Royal Photographic Society said the same thing on their creative courses too.

Tim Parkin (10:22.955)
Those are the two things I've seen are quite dominant. One is the geeky bloke who's in it for the gear, in a way. So it's an excuse for a gear hobby. And the other is the same thing I hear when I talk about mountain leaders is there is a certain wariness of women being out in the landscape as solo participants. Not necessarily because they're worried about it, but because they're brought up.

Mark LJ (10:30.542)
Hmm.

Tim Parkin (10:53.325)
not to do it, whereas blokes are brought up to go out and play or camp on their own. It's a normal thing to do.

Joe Cornish (11:00.89)
Yeah, I think a lot of what we're talking about does actually originate in the culture rather than in photography specifically. I mean, it's interesting hearing, you know, what what Mark's described, I can sort of echo to an extent. We do, we do a lot of workshops I have done over the years, and I've had I've had one or two where I was only women, but I was very exceptional. It would usually be a ratio of sort of five to three or, you know, three to four sometimes.

We obviously have, we do have regular female participants who are brilliant, brilliant photographers and they keep coming back. And of course, you get a community of supportive folk of whatever gender, then, you know, they encourage each other to join. So we have a, you know, in I'd say the group I have with David, there's several brilliant women photographers. So it's great to see them, you know, regularly.

but there's a kind of a regrettable sense that it's hard to get more women on. But as Mark says, Margaret Soraya's group is absolutely female dominant. And that's because Margaret's own emphasis is very much on creative life. That's not to say that what we do isn't creative. I hope so. It always upsets me a little bit that we tend to think blokes are all gear heads. That's not by any means always the case.

But it's, think the guys feel, you know, males feel that they can join a group and it doesn't, it doesn't bother them if they don't know anybody, they'll just join. Whereas perhaps there's a little bit more of a anxiety attached to joining if you, if you're female, you don't know anyone. So, you know, maybe that, I don't know. Actually on that note, Tim, just to go back to, well, it's still this issue, but when,

You know, we're looking at the wonderful photographers that we've chatted with this last year or so. We have a really good number. You probably have the list there. It may be a slight majority of men, but not a huge majority. Would that be fair to say?

Tim Parkin (13:07.603)
Yeah.

Tim Parkin (13:12.256)
Let's just have a quick count. I've got them in front of me now. We've done a total of 15 episodes. One, two, three.

Joe Cornish (13:23.012)
Sounds about right.

Tim Parkin (13:28.992)
Yeah, five women. So three to one or two and a half to one, something like that. But to say is normalish. Interestingly, don't want to belabor the point for this one is the nice thing that comes out when I do the calculations of the percentage of women for the people who get into the final rounds of our competition, the percentage of women goes up from about 25 % to about 35%.

Joe Cornish (13:36.058)
Yeah.

Tim Parkin (13:58.299)
So proportionately more creative and more successful in hitting their goals if being represented in competitions is one of your goals.

Joe Cornish (14:11.278)
This is big data. You're playing us with.

Tim Parkin (14:13.184)
It's interesting. The other one that comes out that always is the over-representation of Scotland in the world as well. We have done some geographical breakdowns in America. It's unsurprisingly has a big representation. But if you break America down into states and consider the states as countries, it looks a bit more normal compared with Europe.

Mark LJ (14:30.379)
huge.

Tim Parkin (14:38.976)
Scotland is very well represented for photographs and I don't think that's, well it's not just me editing them because it's obviously the judges come from all over, we haven't quite balanced. And I always think that's because Scotland's got such a broad, so many different styles of landscape. You know, if you go to Texas you'd have to go a long way to start seeing different types of landscapes and in America you've got to travel a whole.

country to go to different states to get the broad range whereas in Scotland you can go around the corner you can go from completely lush rainforests over to quite barren tops and mountains in Aviemore and things. You can pick up quite a lot of styles.

Mark LJ (15:23.63)
think who was I talking to a while back, the number of Scandinavians that visit the highlands of Scotland? Surely they've got, you know, Sweden, I think they were saying. You've got these fantastic scenery, same, but as you said, you would say, well, you come around the corner and there's a hill with a load of trees. Next corner is a hill with a load of trees. Whereas even when you talk about the highlands, you know, go through Glencoe, it's one particular style.

You come to where I am, know, Torridonian Mountains, know, Laethach and everything else. And huge mountains just with all their own personality. But then you go to Inverpoly and, you know, Coigach, Ascent and you got Sothe and Stacpoly in the mountains. It feels like you've traveled further than just the north of Scotland. It feels like you've gone to...

Tim Parkin (16:09.423)
incredibly alien landscape isn't it?

Mark LJ (16:19.256)
through some flamin' time dimension in an alien world, as you say.

Joe Cornish (16:23.994)
Yeah, without wanting to analyze it, overanalyze it, there is a, I mean, I would be really interested to know if there's anywhere in the world that has quite such an extraordinary, amazing confluence of geology as Scotland. And that's the reason, know, obviously, yeah. But I mean, I dare I say it Mark, it's probably the geology that has a bigger influence on the number of photographers that go there.

Tim Parkin (16:41.126)
Mmm, yeah.

Mark LJ (16:41.902)
and lovely people as well.

Tim Parkin (16:53.251)
I think you're right, think it's because geology defines the flora as well quite often.

Joe Cornish (16:57.562)
It defines the ecotypes in that sense, as well as the landscape types. And of course, the period of glaciation have made an enormous difference to those mountains. And that's just the recent superficial appearance. But if you dig a bit deeper into that, the history of Scotland's geology is in itself. Even if you never took a photograph, to try to study and understand how this

little bit of land that is now between 55 and 61 degree north, think, if you include Shetland, has so many unbelievably different landscapes, you know, of course, igneous, metamorphic sedimentary, all represented in a vast range and especially the volcanic landscapes, you know, especially having I've just come back from egg a week ago. And I mean, that is just

absolutely astonishing place for photography, with things that remain mysterious, I keep reading about and I still don't really understand how these forms are created. And then that's then in turn influenced by, you know, the constant ebb and flow of the tides. So in the intertidal zone in Scotland, even if you never went up a mountain, you'd find this incredible range of different rocks and ecosystems within the rocks, Mark, which you've been working on in your cult.

Tim Parkin (17:55.954)
Yeah.

Joe Cornish (18:22.34)
Project.

Mark LJ (18:23.362)
Well, it was funny because today was an incredibly low tide.

after playing golf came back nice and early, got down the beach and it was like a 0.2 feet tide which is tiny for us. It was a little bit of a high. Yeah, Which was good in a way but also meant there were blue skies and it was a bit bright but I just wanted to get a couple of newer images. So I went down the right hand side of the beach in front of the house and as you're saying about the rocks.

Joe Cornish (18:37.242)
Wow. And high pressure, right? High pressure.

Mark LJ (18:57.026)
There was areas of rocks that I've noticed because the last time I mean it be a year ago more or less today when it was down so low I was across on the left side of the beach and it's just black rocks, it's quite mundane. But across on the right hand side it was like an explosion in a sweetie factory. There was just pinks and yellows and all sorts of colours. I mean I'm assuming it was sort of Lewis and Gneiss or whatever else it was just absolutely.

It was phenomenal. it was like I'm there looking for the seaweed for the kelp and I was transfixed by the rock. It was just fantastic colors, but it was there was little areas where it had broken up and whatever. It was just absolutely phenomenal. And it'll be another year before I see that again. Unless, you know, September or whatever. We got that all over the tide.

Joe Cornish (19:45.134)
Yes, because it's a spring, isn't it? And then combining with that high pressure, I just mentioned that because we did a bit of research about the effect of pressure when we're on egg because we were so astonished by how low the tide went. And it turns out that even if you take all of the effects of storms and so on out of the equation, the difference between the lowest of low pressures

Mark LJ (19:48.184)
Yeah.

Joe Cornish (20:13.326)
and the highest of high pressures that you typically get in the UK, there's a two meter difference. That's completely independent of the height of the tide. So that means that if you even get a big high pressure event like we're having at the moment, pushes the tide even further out. By the same token, when you have, of course, a big storm as we know, get these incredible waves coming in.

Mark LJ (20:36.302)
Well, yesterday wasn't too much difference in the height of the tides, but I wanted to go down and scout it out, but we probably had 50-odd mile an hour winds. You try and keep your balance when it's dry and rain and it's 50 mile an hour winds, you've got waves crashing and I'm trying to think, right, am I going to do the right-hand edge or am going to do the left edge of the kelp beds? And it was phenomenal.

Tim Parkin (20:49.656)
It's terrible, isn't it? Yeah.

Mark LJ (21:06.208)
It seems, believe it, last year I got two or three absolute favourites with the Calp. And the tide, I I thought I was going to be able to walk to Skye. It was that crazy because it was very high pressure. There was no breeze. There was no swell. It was just magical. was just phenomenal. Love it.

Tim Parkin (21:27.425)
tell that there was less seaweed there because it was too deep for the seaweed.

Mark LJ (21:32.558)
Well, beds were absolutely fantastic. The only thing we've obviously had a lot of storms, a lot of the camp was destroyed. So you didn't get the big, wide, luscious sort of like forms that you can get. Because it's sort of like, I don't know what the gestation period, I don't know what the growth factor is with the camp because obviously they clear out to come back again. But I mean, it was like...

a kelp habituar on the beach because there was so much washed up.

Tim Parkin (22:06.395)
It can grow up to 60cm a day when it's in the ideal conditions. Giant Kelp.

Joe Cornish (22:15.929)
this.

Tim Parkin (22:15.931)
That's like, that's crazy.

Mark LJ (22:17.993)
When you see the mountain that was washed up this morning after the storms yesterday, it was like, well, there'd be nothing to photograph, but there was loads.

Tim Parkin (22:26.297)
Always amazing to me how fast Bracken grows when it comes to the start of the year when it breaks out of the ground. It's about fast.

Mark LJ (22:32.942)
you get the little green spirals and then a few days later it's like

Joe Cornish (22:35.834)
and you can almost see it coming.

Tim Parkin (22:37.883)
No.

Tim Parkin (22:42.575)
and it ticks everywhere. Wonderful.

Mark LJ (22:44.866)
Yeah, tell me about it.

Joe Cornish (22:46.093)
not so wonderful.

Tim Parkin (22:48.195)
No. So how was egg?

Mark LJ (22:49.325)
either.

Joe Cornish (22:51.194)
Well, I mean, I kind of want to say it was really boring in the hope that nobody else is going to go. No, I mean, what a place it is. is amazing. It's it's one of those places I think I'm now addicted. So I will probably continue to return there. And it would be a tough place to live because like any island, the isolation is not easy. And

Tim Parkin (23:08.089)
Hmm.

Tim Parkin (23:14.35)
Yeah.

Tim Parkin (23:18.51)
community politics and alcoholism.

Joe Cornish (23:20.738)
All of that would be tricky.

Mark LJ (23:20.8)
alcoholism. I've been once and it was like the guy doesn't the guy's not there anymore I don't think that they had an unofficial taxi and I need a box in the back with some glasses and a big bottle of whiskey.

Tim Parkin (23:31.426)
taxi driver, he brilliant wasn't he?

Joe Cornish (23:40.602)
Well, gents, can assure you Charlie is still there and he's still driving that taxi. Yes, and he's still going out the risky occasionally.

Tim Parkin (23:47.571)
easy, brilliant.

Mark LJ (23:52.878)
We mentioned York tomorrow, I'm on the Springbank 15. What are you drinking Joe?

Joe Cornish (23:58.318)
Well, this may shock you Mark, but it's deliberately designed to shock. So this is a co-op label. It is a 12 year. I deliberately bought it thinking, you know, I mean, there's so many different labels you can buy. I thought I'd just try a supermarket label and just see if it's actually any good. It turns out it is. So it's.

Mark LJ (24:22.744)
Coop's is spot on so why would the booze be needed? It looks like a sherry or a rosso type cask going by that colour.

Joe Cornish (24:27.822)
Yeah. Yeah.

Joe Cornish (24:33.227)
Agreed. It's very easy drinking, very smooth. So it's probably a space site. yeah. But it's good. So I mean, I'm not a big smoky whiskey person personally, so.

Tim Parkin (24:45.209)
I'm on a dark one now.

Joe Cornish (24:46.99)
There you go.

Mark LJ (24:47.214)
What are you inviting?

Tim Parkin (24:49.689)
Hmm hmm hmm.

Mark LJ (24:52.511)
Glen Drunish, the 18th.

Joe Cornish (24:54.458)
18, 20, that's a lot.

Tim Parkin (24:56.729)
can't get the parliament anymore.

not on my wages anyway.

Joe Cornish (25:02.266)
Should we have a chat about those wonderful people that we've interviewed? mean, I don't know if that's appropriate, but fun to remember that, you know, this is, yeah, whatever, we're 15 episodes in, so we're over a year of doing these get togethers. And it's been, I mean, a real privilege, actually, it really has to be, you know, and the other thing was that I think everybody has asked,

Tim Parkin (25:10.816)
Yeah!

Joe Cornish (25:31.63)
has said yes. Is that right?

Tim Parkin (25:33.209)
Yeah, yeah. It's been, they've been really nice as well, like you say. We've had, we've only had a couple of Americans, it's mostly people we've known from here. We've had Guy Tal from America and Matt Payne from America as well. But it's just been, it's been fab chatting with guys and it's been fab having a few more, I know, in-depth friendly discussions with people as well. People don't mind having a little bit of a...

more of a thoughtful discussion.

Joe Cornish (26:07.81)
I think, well, yeah, the idea is that it's long enough for, you get the trivia out of the way, hopefully, and probe a bit further. I always think those really wonderful radio, you know, of the Desert Island Discs is still a bit of a favorite as a radio format, because in a way, you know, it's, I mean, obviously it is designed to draw out the story of somebody's life, isn't it, I suppose. And most people who,

Tim Parkin (26:27.416)
Yeah.

Joe Cornish (26:37.524)
If you were asked to do Desert Island Disc, probably all three of us would jump at the chance if we could. I'm not sure this is quite the equivalent. Maybe we ought to think about doing that, bring in some innovation.

Tim Parkin (26:43.608)
It'll be fun. Yeah.

Tim Parkin (26:51.334)
We could add a few favorite pictures in for the next ones.

Mark LJ (26:53.738)
Yeah, instead of records you just pick pictures, pick maybe six images through...

Tim Parkin (26:58.328)
That's not a idea.

Joe Cornish (27:02.862)
I like it. like it that you know, we haven't discussed this beforehand, by the way, anybody use this thing. This is a new idea. Tim make make no who's making notes? Okay. No, I like that. I think that that'd be really good. Yeah. So the question is, then, would it be I mean, if it were say, three, four, five, favorite pictures, would it be the favorite pictures of the photographer? Or would it be the favorite pictures that have influenced them in their

Tim Parkin (27:10.744)
I am making notes.

Mark LJ (27:13.346)
music for.

Tim Parkin (27:30.071)
I think the influences would be good.

Joe Cornish (27:32.772)
Mmm.

Mark LJ (27:33.026)
Yeah, I wasn't thinking about their own, I was thinking about other people's.

Tim Parkin (27:36.854)
Yeah, yeah the ones that have had a surprising influence on their life.

Joe Cornish (27:36.867)
Yeah. Yeah.

Joe Cornish (27:41.836)
I like it. This has got legs. I like it. Great.

Tim Parkin (27:47.64)
Now should we try it out? Let's have it, let's, let's, I'll ask Mark, there we go, you can pick it, well you can pick a couple. What would be your surprising pictures that had an influence on your photographic life?

Joe Cornish (27:50.532)
Go on then. I was gonna say Mark is now into...

Mark LJ (28:01.774)
Um, well, the very first, well, I remember getting asked, did the Masters Division, I think a year or two after Joe did it. Um, and we got asked the lovely and sadly departed Steve Watkins got involved and said, I want a talk from you all. Cause it wasn't just a single person. It was myself, Julian Calverley, Paul Kenny, Valda Bailey, Pete Bridgewood, obviously cause he was a ranger.

I want to talk about an image that influences and Paul Kenny, Bill Brandt, Val de Bailey, Chris Freel who's fantastic. And I actually, because I had never studied photography, I'd never really grown up with it or whatever. For me, it was an image that was in my head, on a screen or on a print.

and it was walking over the top of Brown Hills one day with my dog Harvey. Came over the Hills and the top end of Oswater was laid out in front of us. And it just been raining, the sun had come out, the mist was rising through the trees. There was silvery light across the water and that always played in my head. then, I mean, Oswater was really my muse, if you like. I always think of a picture by a lad called Brian Kerr.

Tim Parkin (29:25.036)
Hmm.

Mark LJ (29:29.806)
lovely fellow, taking pictures well before me. a few commended in the landscape photography year, but he had a picture. I remember I bought me camera in February 2010 and I remember my first dawn that I shot was in February. Rickety little tiny tripod, Pentax KX camera.

And the pictures I was taking was just, you the sunrise, was like the colors, it was fabulous. And Brian was across on the other side of the bay, I was near to...

at a point and Ryan had taken a different shot and he'd taken a different direction and everything was like a bluey tone and the line of trees that goes out near a point and they were all just like silhouetted the mountains but well could see the sun is beyond up here and whatever and I just looked and I thought that was a totally different picture. You know he was there at the same time I was but he shot away from the dawn not towards it.

the colours, the blue, the atmosphere, all that sort of thing. was just, was just, that's the picture that always sticks in my head. And sort of like an early influence and I suppose in colour, you know, when you, when you think back to that. And I mean, the other picture, I suppose, is a big influence in taking the smaller pictures. It's one of Paul Kenny's, which is Herring Gull.

I can never work out what the bloody name of it is. One of them things I always get mixed up is work of a down, something like that. And it's, I always call it the unhappy gull, if you like, because the feathers that way, I suppose, they're like a smiley gull. It's a feather, so it can't be happy or sad. I mean, a feather's gonna be sad, isn't it? Because it's no longer flying. It's just like lying there. We saw it, it masters the vision. So I mean, I'll...

Tim Parkin (31:12.502)
another one.

Mark LJ (31:33.536)
I love Valda's work, love Julian Calverley's. But when you were walking past Paul Kenny's work, you just stopped and looked and just saw.

It's got that effect, think, Paul's work. But yeah, just looking at the picture, something small. And when I moved to Westeros, I remember Paul saying to me, so, know, wonder how long before you start looking down. And it's been funny, I've got these huge mountains, trees, rivers, crags, cliffs, everything else. And yeah, it's just a smaller thing. So yeah, so Paul's work and that one image by Brian, if I was going to mention to.

Tim Parkin (32:13.664)
Hopefully we'll have Paul Kenny on a chat sometime soon.

Mark LJ (32:13.806)
That's what I mean.

Yeah, if I mentioned three, obviously it would be one by Joe, but you know, obviously.

Tim Parkin (32:23.392)
What about yourself then, Jane? Do you me to No, I'll go first. That's fair enough. I think the one that the biggest influence was when I bought a workshop for my 40th birthday. And it was a workshop with, I didn't know who they were at the time, but David Ward and Richard Childs. We were staying at the Viking Longhouse, he's on Paris. And

I didn't know at time because I was just using a digital camera but everybody on the workshop was all film photographers apart from me. So I got taken into this photographer took me under his wing and started teaching me how the large format cameras worked etc. But at the end of the workshop the thing that really got me was David showed me the picture of the wooden with the knots and the blue shadows in the background. can't remember the name of it now but he showed me a 20x

must have been bigger than that. It's bigger than 20 by 24 but it's a seabrook chrome and it was just so good. It was just absolutely beautiful. It was like you could fall into it. It had that much clarity like a pool and that's when I just decided right I'm selling all my gear. I like this idea of a room. I've been convinced during the week anyway but that was the point where I went. If I can do stuff like that and if I might be able to do stuff like that

that would be amazing. I think that was the really big one for me. And there's been quite a few since then, but it's interesting you should mention Brian Kerr and some of photographers of that ilk because Scott Robertson was one of the ones that I think was influential to me in moving to Scotland in many ways because his pictures from the top of Benicrelast and the big view looking over to the buccal and the mountains there hooked something in me. Colin Prior had already hooked me.

with a few pictures, I think his twilight pictures from the back of the black mount looking across Rannoch or things like that were just gobsmacking. But Scott was great. It's shame Scott doesn't take many pictures anymore. sadly got Lyme disease and suffers a bit.

Mark LJ (34:33.794)
is

I he's doing really well. I was speaking to him a little bit ago because I've known Scott for years. I've known Scott since before we both took pictures because we're both on hi-fi forums because that's the way he used to show when I was working. And then Scott came down, cleared his Mrs. Bottom of Workshop with me actually. And he came down, didn't stay at the house, but he ate at the house every night because we were together for three, four days. And he's just the nicest guy. And it's a real shame.

He's not still taking pictures because some of his mountain stuff. I remember Charlie picked one of Scott's, it's been one of his favorite, 10 favorites from 10 years of the landscape photography. And he did some, it wasn't just the mountain stuff. You know, he had this little series of shots that he took from the back of Lough Tullough. You know, he walked around to Fleming's old house. Fleming? Not Fleming, what you call him again? The lad who wrote James Bond.

Tim Parkin (35:35.316)
Yeah, I'm flooding, yeah.

Mark LJ (35:36.916)
And they were just gorgeous. You had a real sense of serenity with the images. Yeah, lovely, really lovely photographer.

Tim Parkin (35:45.94)
for a rock hard Glasvegan melt aluminium worker.

Mark LJ (35:51.052)
Yeah, yeah, no, he just had such a, but again, he just had had such a love of where he was, but the limest phase has left him so fatigued that he's just woodturning and that sort of stuff now. A lovely guy and a great photographer.

Tim Parkin (36:08.147)
What about yourself, Joe? Any interesting, influential images? Surprising ones?

Joe Cornish (36:13.786)
That's really hard. mean, there's so many photographers whose work I loved and enjoyed over the years. And so you tend to be a bit kind of influenced by the most recent. But I mean, it was it was actually interesting. You know, as as we all know, John Blakemore died very recently. And Tim, you and I did a little bit of correspondence recently about John and I'm with my friend, Kerry Akros as well. And there's a wonderful

Tribute to John from Paul Hill, which if anybody hasn't seen it, if they look back a little way, they'll find it in probably the next issue back.

Tim Parkin (36:51.741)
Just in this issue coming out actually, so it's just published this week.

Joe Cornish (36:55.414)
Excellent. I mean, it's, yeah, by the time this gets out, maybe it'll be back. But anyway, you've actually chosen some beautiful landscape photos of John's for that, for that piece. And I do genuinely mean it when I say that I think of, of all the many, photographers whose work I've loved and have influenced me, John's was really the first and the most important because

Tim Parkin (36:59.836)
yes, yeah, you're right.

Joe Cornish (37:25.11)
His work convinced me that this is an artistic process. And, I was an art student, so I had fallen in love with photography and was struggling with more traditional art forms, let's say. And yet I, you know, wanted to do something that offered some of the joy of, you know, making pictures and photography became that. seeing John's work convinced me that that's exactly what it was. You see his pictures, they are a transformation.

You can see what they are, but they transform reality into something that's much more kind of conceptual, you know, that expresses something about energy and light and form and texture, which I hadn't really, I could never have imagined on my own. So I think that was really important. I've been many other photographers, of course, including Alton Adams and Edward Weston, particularly from, you know, the mid 20th century Americans, brilliant, wonderful photographers.

But then the one other photographer who I probably should mention, who's influenced me the most, think, is Peter Dombroskis, a Tasmanian photographer whose work I think we all know. you know, Peter died at the age of 53. And I still find myself thinking, okay, I never met him. And yet, how did he die so young and yet leave such a legacy of, probably he was only shooting for maybe

maybe 20 years in his large format, kind of mature large format style. But it was a style that is both very sophisticated and also innocent at the same time. it's sophisticated and visually it's brilliantly kind of balanced his work. And yet it's innocent in that he sees with that kind of the purity of seeing which is a

I mean, I think the way he responds to nature is just he photographs what he loves and it's just all there. Some of his pictures are quite challenging and some just you just take them in and they're just beautiful for what they are. But anyway, I think I learned a couple of things from him, particularly the fact that you could make remarkable photos in very soft light, in very flat light, as I probably thought of it then.

Joe Cornish (39:52.122)
and they work better as a result of being shot in that light. So it guided me on a completely different path of photography. So in many ways, I suppose my own, you know, kind of style as a photographer has changed more because of Peter's influence than anyone else. So, I mean, individual pictures, could point to a few, but they would be from those photographers.

Tim Parkin (40:14.866)
Out of interest, you've been to Tasmania a few times. I was speaking with a guy called Matt Holan, who works out of Tasmania and knows people over there quite well. We were talking about the similarity between Scotland and Tasmania. He said exactly the same thing. said there is a connection there. Not just in the fact that a lot of Scots went to Tasmania, but they did.

and remain there so it has got Scottish heritage but there is something about the landscape that has a similarity for being completely and utterly different. Geologically it's complex I think, helps but there's something more.

Joe Cornish (40:54.582)
Yeah, I agree. I'm sorry, Mark, I can see you should probably jump in here. But that's absolutely true. you know, you think, I think probably most people would imagine, well, Scotland, lots of Scots in New Zealand. And that's true, especially in the South Island, around Dunedin. But honestly, New Zealand is nothing like Scotland. Whereas Tasmania is really quite similar. Of course, the hat the ecosystem is completely different, because it's all southern hemisphere plants, you know, with with

you know ferns and I'm trying to pandanis these amazing plants which they also have gigantic ancient broadleaf trees as well whether they're what they do have the eucalypts are the biggest but they have their own very specific other I'm trying to think deciduous beach I'm trying to remember the names doesn't really matter but they they are

It is on a larger scale in that sense in Scotland. The mountains are taller than they are in Scotland. But what's common is this ancient rock. And that's what makes it parallel, I think. And it feels ancient in a way that New Zealand does not. New Zealand is more like an alpine landscape, southern Ireland. It's relatively recent. The geology is a it's a strike slip zone, some subduction, hence the volcanoes.

But most of the southern Alps are alpine. They're relatively young. They're newly kind of eroded and whatnot. Whereas at Tasmania, those rocks are very Torridonian in a way. They are different, of course, but they're much, much older. that's right, lot of very granitic rocks. And that gives the...

Tim Parkin (42:32.825)
Yeah.

Tim Parkin (42:38.35)
Big, grainy granite stuff, isn't it? Yeah.

Joe Cornish (42:44.77)
the character of the place, is definitely parallel. Lots of lochs or lakes in Tasmania and rivers and waterfalls and all of the things that we associate with Scotland, of course, and beautiful, beautiful coastline as well. Tasmania is a miraculous place, I think.

Tim Parkin (43:03.492)
Are you travel marks over to southern hemisphere?

Mark LJ (43:07.438)
Southern Hemisphere, Lancaster.

Tim Parkin (43:09.872)
That's pretty south, yeah?

Joe Cornish (43:10.788)
Thank

Mark LJ (43:11.758)
Yeah, ahead. No, I've not. I think it about three days in the Pyrenees with Giles Stoke. We were looking at maybe running a tour there, that didn't happen. So that was so that was three days in there. think I had an option not something I was afraid about. The only other place I traveled was was Iceland, but that wasn't a photo trip. That was a trip with my son and his granddad. And I did take two or three shots. But I mean, the only one I think I came back with was somebody's

Tim Parkin (43:23.329)
Tropical.

Mark LJ (43:41.644)
garden in Reykjavik, some tree in the Pebble Dash garage wall. So windswept and interesting I'm not. Never traveled, not been to America, not been to the Southern Hemisphere.

Tim Parkin (43:56.058)
No word.

Mark LJ (43:58.382)
Yeah, mean, yeah, but we won't go at the moment. mean, Red, our dog, is nine, is one of two issues at the moment. So how long he'll last, I don't know. But we lost the last of our main coons three or four months back. So we're not having any more cats. We won't have any more dogs in the short term. I mean, I'll be a bawling wreck for, I reckon, six months when Red goes, because he's been nowhere else.

Tim Parkin (44:02.064)
Hmm.

Mark LJ (44:26.37)
most fantastic dog, which everybody says about the dog. But when red goes, then we'll, once we've recovered our equilibrium, we'll travel.

Tim Parkin (44:35.352)
Anything on the agenda, do you think?

Mark LJ (44:37.998)
We're not bloody America at the moment, that's for sure. I don't have any money in Trump's pocket.

Tim Parkin (44:40.757)
No. No.

Tim Parkin (44:46.544)
Just Canada to spite him.

Mark LJ (44:48.366)
Well, my, oh yeah, no, we'll go to Canada. Rachel's brother lives in Canada. He's got family there. And then, I mean, he's married a Colombian lady, so I've got a house down Columbia. I would like to travel down, you know, South America, maybe Chile, that sort of way. I mean, Patagonia has just been, I wouldn't say done to death, but there's always something, wherever you go, there's something different to photograph. You don't have to photograph what everybody else does just because it's in front of you.

Tim Parkin (45:16.974)
think any of these popular places are always surprising when you go there to see what's not photographed. There you go. Now, why do people just look at that bit there?

Mark LJ (45:21.806)
Mm.

Mark LJ (45:26.476)
Yeah, no, mean, well, I've always been that way when I've taken photographs, just because the mountains there doesn't say you've got to photograph it.

Tim Parkin (45:34.318)
I'll tell you a good example of that is when you go to Eicke for the first time and you come across the top of the island and you drop down on the other side expecting to see Brum in the distance, about that big. And it's like that, covers the whole horizon. Because everybody always uses an ultra wide lens to photograph it.

Mark LJ (45:47.138)
Yeah.

Mark LJ (45:50.882)
Yeah.

Joe Cornish (45:51.406)
Not everybody. Just saying.

Tim Parkin (45:52.894)
Most.

Mark LJ (45:57.114)
I went to, I mean, I loved Egg, went with my mate Billy Curry, who's another lovely photographer. fact, when I took the shot, one that landscape photographer was with Scott Robertson and Billy Curry. But Billy gave me a shout, oh, God, it'd years ago now, maybe 2012, 2013. He said, I've got accommodation booked on Egg, do you want to come? And I said, oh, yeah, go on then, great, trip out. And it turned out it was a year. There was me, Billy, in about 500,000 years.

And it was going 90 degrees every day. A lot of cloud in the sky the whole time we were there. But a fabulous spot.

Joe Cornish (46:36.984)
Actually, know, it's ironic you say that Mark, because that's one of my experiences of egg is that the weather is always too good.

Tim Parkin (46:45.199)
It's often very very sunny on the west coast, west...beyond the hills. It gets better and better doesn't it?

Joe Cornish (46:51.53)
Yeah, and that's true. And there will be many times we'd be on egg and you could see the rain falling on rum, which has, you know, mountains that are 1000 foot higher. But you know, egg still has its you know, does have its own hills. And yeah, egg would be, you know, fine, sunny. Yeah, what a place.

Tim Parkin (47:12.746)
We always go to Malig and Malig's always good. I'm not sure if you catch the back end of sky weather drifting over or not but it does seem if I go to Malig in Arrisseg it's always nice that end.

Mark LJ (47:25.55)
And you talk about like all the sunny West Coast, isn't it delightful? It's so cool, guys, you can wander in shorts and a t-shirt, bollocks. You know, honestly, we can have like periods where Rachael and I, I mean Rachael just is, because of the accident where she was determined to do 10,000 steps minimum every day. So we'll be walking down the road in like full waterproofs just to like get the 10,000 steps in.

Joe Cornish (47:29.732)
Bwahahahaha

Joe Cornish (47:36.698)
Thank

Mark LJ (47:54.828)
And I'm sure everybody passing by looks across and thinks, look at that poor wee dog. They're just dragging it out in all the weather and he's... And his coat, he's got... I mean, this is how wet it is. We've got about six different coats for the dog. You know.

Tim Parkin (48:01.4)
Hahaha.

Joe Cornish (48:11.226)
Thank

Tim Parkin (48:11.35)
Yesterday is a fantastic example when when when it was all the storm warnings in England in January and It's the whole country the whole country is going to get these storms. They're terrible the terrible. We got like 70 mile an hour winds up here Yesterday no storm warnings nothing not even a red red or amber warning There was 85 mile an hour winds on the top on the ski center at 600 meters. It was a bloody shed down outside

Joe Cornish (48:34.522)
sleep is.

Mark LJ (48:37.038)
At Christmas, we had a storm that wasn't named, at Danielle's at the trekking centre where Rachel gives anton, it was 80 miles an hour. That wasn't 600 meters up, that was about six meters up, and it was 80 miles an hour. And it wasn't a storm, there's only about five of us living up here, so it doesn't really matter, you know, come on.

Tim Parkin (48:59.725)
I've got a good story from the Glencoe ski centre from the guys who used to work there. The guy who still works there, he said they came in work one day and the shed had gone missing. They got this green, large corrugated shed. You know, a big one, not bigger than your normal shed outside. Maybe about 14 foot by 30 foot sort of thing. And it just gone.

happened to it? It's like some Scallies come up and like taking it apart and driven off in the middle of the night or something. Anyway, so later in the day they got a phone call on the mountain rescue talking about a crashed aeroplane on Rannoch, on Loch Rannoch, and they're like, crashed aeroplane? Yeah, there's lots of wreckage on the side of Loch Rannoch. So can you describe it all? Here's a green wreckage of the wings and things and the shed that was on there had blown about two and a half miles, three miles away.

and landed on the banks of the Lokranik. And that's, they reckon it was about 100 mile an hour winds in the car park at Glencoe.

Joe Cornish (50:03.31)
I'm just going to point out at this stage that I have personal experience of strong winds in Scotland. So I'll take no lessons from anyone on that. That's story, though, Tim. And actually, I can totally relate to it. I remember being at Cairngorms one time when Jen and I were there after we lost our first dog and we were sort of having a holiday to try and sort of get over it, a like Mark, you know, thinking about red. And

Mark LJ (50:09.503)
Hahaha

Tim Parkin (50:14.987)
No.

Joe Cornish (50:32.826)
It was windy. made the mistake of trying to put an umbrella up because it was summer snow and it blew out of my hand and it just disappeared. it literally, I tried chasing it for about quarter of a mile and it just disappeared down the valley, never to be seen again. So yeah, wind in Scotland, eh?

Tim Parkin (50:55.636)
It is wild weather and then it'll be sunny the next day. Perfect.

Joe Cornish (50:59.343)
Yeah.

Mark LJ (50:59.862)
and that was today. Today was a beautiful

Tim Parkin (51:01.546)
Yeah, again, it's lovely today, isn't it? We are going to have for the next two weeks, two weeks of glorious sunshine. That's what I've been told.

Mark LJ (51:08.686)
Yeah, morning here, it suddenly changes and there's no wind. I think it might be into the 60s. It's funny, whenever it's a high temperature, it in Fahrenheit, when it's a low temperature, I'd it in Celsius. I don't know why that is.

Tim Parkin (51:27.2)
Here's a question for you, for you Sue then. Being zits about any questions. Who would we like as our... good guest that we could have? Somebody that you don't know but you'd like to include on the show.

Mark LJ (51:43.106)
somebody that don't know.

Tim Parkin (51:44.702)
Yeah, because we've done some of the people we know, we? We've done lots of the people we don't.

Joe Cornish (51:44.932)
So I've got.

We do. And if you don't mind, I'll jump in first because I see something I have thought about, you know, and I just also wanted to say a big thanks to everybody who's who subjected themselves to our interrogation up till now because we've had a lot of fun and I really have enjoyed absolutely everybody who's come on the show. But a couple of people spring to mind from my point of view that we haven't interviewed who I don't know. Michael Kenner is one.

because he is, you know, like it or not, and you know, love or hate Michael's work. He's a very, very influential photographer and most of his work is based in the landscape. So that would be one. This is okay. So this is my second suggestion. Well, Angela Nicholson, Angela, I never met her, but she runs this website called SheClicks, which is extremely successful. And a lot of

the female participants on workshops mention it. So I'm pretty sure Angela probably is quite a general photographer, but she will enjoy doing landscapes. So she probably be a really interesting person to chat with. And then finally, this is bit of a left field suggestion. There's a few people we haven't chatted with yet, by the way, like Margaret, who you mentioned earlier, I'd like to talk to. But Ed Bartinsky.

Tim Parkin (52:57.129)
Yeah.

Tim Parkin (53:13.771)
That would be fantastic. Yeah.

Joe Cornish (53:15.354)
whether he would concede to talk to us remains the but I mean, here is probably the most influential landscape photographer on the planet. And I think that, I certainly got plenty of questions for him and I'm sure you would too, Tim and you Mark, all three of us should interview him.

Tim Parkin (53:18.357)
Yeah.

Tim Parkin (53:31.507)
Yeah, definitely.

Mark LJ (53:35.249)
I was browsing his website the other day. People had been going in about exhibitions. I don't tend to look at an awful lot of people, but his work I just thought was phenomenal. Just absolutely gorgeous. It worked every which way.

Joe Cornish (53:46.222)
Yeah. Yeah.

Tim Parkin (53:48.051)
He's got a very... you can tell he's got a bit of a graphic design background because he does have a very good eye for pattern and shape, which I love.

Mark LJ (53:54.606)
Yeah, yeah, yeah.

Joe Cornish (53:56.676)
for the moment.

So Mark, what about you? Can you think of anyone?

Mark LJ (54:02.926)
I don't think it's because I don't browse photographers. I've started doing bits and bobs for Tim writing an article. The article I'm writing at the moment is about the fact that I don't tend to look at a lot of people whether or not and it's why you don't look at a lot of people. you consciously not look at other people because you want to stay true to yourself?

or any conflict enough that even if you look at other people, you still remain true to yourself. But you've obviously got to be aware that a lot of people like looking at other photographers. mean, social media and whatever, there's so much work out there for you to see, but there's so many people that don't have the profile of the Edward Burtynckis and whatever. And then you see images like Joe Stephen with the...

multiple exposure and stuff like that. You know, there's so many people that produce beautiful work. I mean, I mentioned to Tim, I think when he was asking about people, Dylan Nardini, I Dylan Nardini is just the most artistic, beautiful eye when it comes to an image. And he just sees things and he takes photographs of them. So I would have to give it some thought. mean, Bartinsky, I love, as you said, you whether he

it would do that sort of thing. And I had somebody else in my head just before, but obviously being of a certain age, it's gone flying out that way. What were you thinking of?

Tim Parkin (55:37.245)
Yeah

Tim Parkin (55:42.835)
I've got mine in head so I can see what mine was in the meantime, then you can tell me. I fancy, and we would have done it at the meeting of minds had we got another year going, which is real sad that COVID happened and the reggae doesn't do, won't let us have a gallery, it doesn't do conferences anymore. But Christopher Burkett would have been a fantastic one to chat to about his work. Because I think his story is fascinating about somebody who's...

Joe Cornish (55:45.69)
You jump in.

Tim Parkin (56:12.859)
It's a very religious motivated photography because he wants to spread the word of God through his work and his books. But I think the way he works and the way he sees is fantastic and the printing and the quality of the work he does is astonishing. I would have loved to have interviewed Brett Weston. He's one of the inspiring photographers that I don't see talked about very often.

And think he's overshadowed by his dad for obvious reasons, but I Brett Weston's black and white photography is amazing. However, he did kill all his dad's cats rather than look after them. So he's a bit mean.

Mark LJ (56:52.75)
Well, no, we're not in.

Joe Cornish (56:56.536)
I think it's too late, he's died, hasn't he?

Tim Parkin (56:58.471)
He has died in 1995 or something like that I think. Just desserts to be honest for killing all those cats. I remembered. Mark? Is he gone?

Mark LJ (57:02.178)
I can't feel sad to be

Mark LJ (57:09.102)
I did think about Chris Freo because I met him once and he just struck me as being somebody who could have a pint with. No, was really interesting character. was a do, fun enough. I'm sure John Blakemore was there as well and it was a little exhibition in Nottingham. I'd him for some reason. And I spoke to Chris and I thought it'd be nice to have a crack with him. Nice to have a chat.

Tim Parkin (57:18.921)
I've never met Chris.

Tim Parkin (57:29.641)
Yeah, but Rob Hudson and everybody else there.

Joe Cornish (57:40.26)
Well, there you go. That's another one for the list.

Tim Parkin (57:43.815)
Al Brydon's quite a good chat as well on that matter.

Mark LJ (57:44.046)
.

yeah, I've got couple of books by Rob Wright. Remember the one, what was it? The discarded flowers from funerals. was intriguing. Somebody else completely, isn't it? What about James Naughton, landscape painter?

Tim Parkin (57:56.071)
Yes, fantastic. Such a good idea. So all the funeral flowers, the plastic ones that get thrown in bins, you photograph them in the bins.

Tim Parkin (58:12.091)
yeah, we never talked about painting have we really, but we've covered it in the magazine before so why not?

Mark LJ (58:14.606)
I did that thing with you and Ross, know, Biblioscape, whatever. And he asked for four or five books.

Tim Parkin (58:20.83)
Yeah.

Mark LJ (58:30.518)
And that was Mountain Cooper, An autobiography by Heaton Cooper.

Tim Parkin (58:31.931)
Okay.

Tim Parkin (58:36.168)
Oh, is that the hidden cupid? Let's have a look.

Hold up, bit higher, bit higher. Interesting.

Mark LJ (58:43.886)
And I love that. obviously, mean, I've, you know, I mean, it's just, just gorgeous. But it was James, James Norton, he said, if you're looking for books, inspiration.

Tim Parkin (58:57.18)
I'm just scanning his son's archive at the moment actually, Julian Cooper.

Mark LJ (59:01.326)
Yeah.

Joe Cornish (59:03.066)
Julian Heaton Cooper is good friends with friends of mine. yeah, I'm sure that might be really interesting to chat with as well.

Mark LJ (59:11.438)
I I love James Norton's work. I remember there's a wee group of takeout called the Peaky Blinders. Well, they're not called the Peaky Blinders, but Rach calls them the Peaky Blinders because they're from Birmingham and they're characters. They really are. But we were discussing what makes, you know, the atmosphere and mood and how you can, you know, try and capture just that essence of the wildness of a landscape or whatever. And so I took them into Beckstone's gallery.

because we're in the Lake District and I knew some of James Norton's work was in there. And it was just, you know, just fabulous. It doesn't have to be for...

Tim Parkin (59:49.488)
I think you've got a good point there. think we should get some landscape painters involved as well for a different perspective.

Mark LJ (59:56.451)
Yeah.

Joe Cornish (59:57.198)
Well, it's cooled on landscape. Let's go.

Tim Parkin (59:59.632)
Yeah, it's landscape and photography, not just the two together.

Mark LJ (01:00:05.05)
It's how we interpret the landscape that's in front of us. It's how we capture what it is we see, because we all see, we might see the same thing, but we see different things within what we're looking at. And it's how we communicate that love, that affection, that emotion, whether you do it with a paintbrush or whether you do it with a camera or maybe...

Joe Cornish (01:00:08.558)
Yeah, exactly.

Mark LJ (01:00:31.98)
whether you do it with a computer when you get that image back home.

Joe Cornish (01:00:34.968)
Yeah, there's so, so many parallels that really are within that sense. That's something to work on, isn't it? So it feels like we've had a bit of a kind of, what's it called? A brainstorming session. It sounds like we're gonna do in future. And I think, we winding up with?

Tim Parkin (01:00:43.367)
Definitely.

Tim Parkin (01:00:50.279)
That works.

We are winding up, we should probably ask our audience. Now we've done our 15 episodes and it's working well. Who would they like us to chat with? We'd like some suggestions on. There must be list out there. So yeah, send an email in or drop us a message saying who you'd like us to interview and we can, I'm sure some of us will be available to do the job where we can get in touch with them. So thank you very much anyway for.

Joe Cornish (01:01:04.378)
Good point. Good point. Absolutely. Yeah.

Tim Parkin (01:01:23.599)
Mark and Joe for joining us and for the whiskey.

Mark LJ (01:01:28.588)
My hat has expired. We're finishing at the right time.

Joe Cornish (01:01:29.848)
Exactly.

Tim Parkin (01:01:32.327)
I'll speak to you all soon.