Driving home along the coast road a little bit earlier than usual, just as dusk was settling I stopped off in the car park on the coast side of the Marine Lake. The sun was setting behind the Marine Way Bridge providing a warm tone to the bridge and the Ramada hotel. The other end of the lake was a colder bluer tone. I love the split of colour in this shot. There was no heroic sunset, just the gentle softening and warming of the light as the sun dropped below the horizon.
Southport is unique among British seaside resorts in that the best chance to see the sea is in a lake! The Marine Lake is a seawater lake just inshore from the beach. It can be refilled during the spring tides from the sea itself. Although it’s not very deep it does provide a great backdrop for the buildings along the promenade and also allows for some water sport that is impossible from the beach.
Looking back from the seaward side of the Marine Lake the Ramada Hotel stands proud against the skyline. The building, vaguely art deco in style, appears from up close almost like the prow of a ship about to enter the lake. From a distance, the whites of the hotel and surrounding buildings make a fine contrast to the darks skies and water.
Sometimes a particular view or style can become an obsession. Perhaps it’s a range of tones, or maybe it’s a minimal point of view, or a particular point of view, or possibly it’s a combination of many things, perhaps not even consciously understood that all come together to produce the one thing that photographers want – a distinctive – something that is recognisably you.
For me the focus on marram, sea and sky has been impressed on me by the nature of the Sefton English coastline. The entire stretch of coast from Liverpool to Preston is straight, flat and featureless. In order to make an interesting shot certain attitudes have developed: a relentless compositional minimalism, removing even more features in order to produce a clean aesthetic; this minimalism extends to reducing the palette to simple blues and greens with a hint of muted yellows in the sand; a low point of view is probably a result of the compositional needs, but in itself produces a distinct viewpoint on the marram and sky of the Southport coast.
The result is simple, clean images with a muted palette of tones. These aren’t dynamic images in the sense that they produce an immediate ‘wow’, but they are the kind of restful, easy on the eye, hang on your wall and enjoy for years to come type of images, timeless in a sense – timeless in the way that the marramscapes of grass, sand, sea and sky will always be.
Driving along the coast road in the beautiful autumn sunshine I got to Ainsdale beach with time for a 15 minute break before moving on to meet a client. I parked up just as the clouds covered the sun. As I wandered and hunted out a good viewpoint the sky darkened, then came the drops, then the camera went back in the bag to keep it dry, and then I went back in the car to keep dry. Of course, as soon as I had to move on to make my appointment the sun came out again!
Blackpool is easily seen from Southport on a clear day. It’s only 9 or 10 miles away as the crow flies (or the fool walks), but it’s a circuitous route around the Ribble Estuary to actually get there. So this is the long end of my longest zoom to see the skyline from all the way down on Ainsdale beach. The sky was clouded over bringing a soft light and gentle contrasts. I hunkered down between the marram clumps to place the view in context and balanced the marram, sea, skyline and sky for this shot.
The Southport coastline can be a little featureless, so I’m always on the lookout for something to add a little interest to these images. To be honest, I love the minimal style that this coast imposes on me, but the eye needs a focus and a direction.
I love these heavily cloud covered seas because the darkness of the sky is reflected in the sea, giving a wonderful dark line along the horizon. In contrast, the gentle slope of the beach provides a soft white line of tide rather than the athletic waves of other coastlines.
In combination the grass and sky provide the layers and the dark and white lines provide a focus for the eye to rest on.
The Sefton coast is a vast space, and once the autumn chill sets in the beach is largely deserted. On an overcast but warm autumn day you will see the occasional visitor loitering along the water’s edge. The tide comes in so gently on this gently sloping beach that it’s a rather tranquil experience standing and watching the water lap gently closer and closer to the tide line.
With the flat light on the surface of the water the sky and sea blend almost seamlessly into one vast bright plane of soft colour and light. The couple standing at the water bring a sense of scale and perspective to the image.
The vastness of the Sefton dunes is rarely broken, but in one or two places there runs a thin ribbon of wire supported on wooden fence posts. From a distance these fences leave barely a trace on the landscape of marram grass. But, get up close to a single post, and the grass becomes the backdrop, and the post becomes the focus.
The turquoise tones of the shelter paint go splendidly with the colours of the water and sky. I’ve deliberately emphasized the blueness in the white balance to produce a bright cool feel to the image.
The Marine Lake in Southport is surrounded by a series of Victorian shelters – designed to allow the discerning visitor to the town to take in the view whilst keeping the worst excesses of the weather at bay. Time, wind, rain and neglect have left these shelters in a rather forlorn state – weather beaten and paint peeled and generally the worse for wear. They still do the same job, but not with the same panache that they would have done in their heyday…
