Heritage Photography Spring 1996

The Royal Photographic Society of Great Britain

Archreology and Heritage Group

Heritage Photography

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Spring 1996 Issue 3

Group visit to 'Goddards'- Lutyens &Jekyll House in Surrey

ISSN 0958-0565

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Contents Chainnan's Report

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........

Photographing Burials: Dry or Damp .....

Eric Houlder LRPS

Page 1

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2

The Parish Church of St.Mary, Langi y .. Page 5 Mike Maher LRPS

A" Digging" Member of th Gr up .....

Len Johnson

Page 10

Two Bath Dev I pm 111for Mono ·hrom ' . Page 17 Jim Brown MIS -1'!\Rf S Slavkirk r Th tav hur ' h 'S of Norway .........

R.K.Evans FRJ S over Photo by J>.M.Spence

Page 23

Chairman'sReport Welcome to the latest edition of Heritage Photography.

Thank you to all who have been associated with the production: to the ¡ editorial staff, the secretarial department and of course to the contributors, each is a valued member of a fine team. This publication provides a showcase for members work; allowing a much larger facility for illustrated articles than the newsletter and in this issue we have splendid articles to peruse. Of course your editor does rely on the contributions from members ( and has been greatly delayed in his efforts by a tardy chairman ! ) so please keep the articles flowing in.

In the recent past there have been splendid conferences, held in wonderful locations, with interesting and informative speakers and good photographic opportunities. Your committee has been considering another for 1996 or even into 1997; with so many excellent potential speakers in the group we wondered if any reader has suggestions for a suitable venue. It needs suitable facilities, to be readily accessible and to be photographically interesting. Does anyone have ideas ? If so please write to me so that we can organise another conference.

The group is due to have another exhibition at Bath in 1996 and entries will be sought. As this is a showcase for the group and its activities please do support it with your photographs and by attending in Bath. Further details will be published in the Newsletter.

I hope that you enjoy this edition of Heritage Photography and if you are not a member of the group already, please join us, come along to one of our events and enjoy the company of good and interesting photographers.

Clive Tanner FRPS

PHOTOGRAPHINGBURIALS:DRY OR DAMP.

by Eric Boulder LRPS., Photographer to the Wood Hall Project.

Convention has ruled the photography of burials ( 1) for more than half a century. In 1954, Cookson (2) even then drawing upon ex perience of twenty years of excavation and photography advocated the washing of skeletons in situ with clean water. After being allowed to dry, the bones lighten to some extent, so that when photographed in monochrome with a deep yellow or red filter, they appear alm ost white. Indeed, with the orthochromatic plates then in common use, this procedure would render bone very white, perhaps giving rise to the common though erroneous belief that skeletons really are white.

This procedure was continued into the 1950s, when the present writer began digging. There followed a period of excavation in which timesaving and money-saving were paramount, so that skeletons were cleaned with trowel and brush only, no washing being attempt ed on most sites. However, though most site photograph rs did not wash skeletons, they probably wished that they could! This writer certainly did, though fully aware of the concomitant pr blems that attended washing.

Briefly, the drying process, whilst Ii , 111 ·ning the bones, tends also to lighten crumbs of dust and 'invisihl ,, hair-roots that are inevitably present in the grave. The ph nom ·11011 is exacer bated when the matrix is sand, and worse still, dry sand is almost useless for transmitting data conveyed by colou r, such as lrn • ·s orintrusion s, decayed organic matter, etc.

(I) Burials is 1111d Pr.wood10 111cu11 111 ,•// preserved skeletons rather than •sand-man' type remains, 1/um}(I, 1/,c 11•ri1,•r' .1· (limited) experience of this type of skeleton suggesls 1h01 .l'prnyi11}(is l1Cmficia/here too.

(2) Cookson M 11.l'holo}(mtihy }<,rArchaeologists, London 1954.

Thus it is evident that though washing and drying may assist monochrome recording of the bones, it may actually hinder the recording of other features that are equally, or perhaps more important.

All these considerations were in the writer's mind when a series of animal burials, each intruding into almost-white glacial sand, was excavated at Wood Hall. (This is a moated manor site in North Yorkshire, currently being excavated by NYCC sponsored by National Power, on whose land it is situated). As early as 1986 an experiment involving the 'wetting' of human medieval burials (3) with atomising sprays on another site had proved encouraging, and so with the approval of the Wood Hall site staff it was decided to photograph the animal burials wet.

Excavation was undertaken by the skilled diggers, though final cleaning was, naturally, the responsibility of the writer. Unlike human skeletons (4) several of the larger beasts had not collapsed during decomposition, so that pelvic arches, and even in some cases spinal columns, had to be supported on pillars of earth. Extra support was supplied by strategically placed nails from the planning box, and in at least one case a pelvis required pinning via the same technology.

Moisture for the final stage was to be supplied with an atomiser-spray of the type used by gardeners against pests. This was filled with clean water. (It must be emphasised here that bones required for C14, bloodgroup analysis, or DNA work must only be sprayed with the permission of the scientific department undertaking this work, and then only with de-ionised water.)

(3) The Excavation of a Cemetery at Box Lane Pontefract. E Houlder.

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monograph 1986.

(4) Human extra-cranial skeletons are invariably flat when excavated in Britain, though occasionally the pelvis may retain its shape.

Scales, step-ladder, cameras and other equipmen t were assembled ready so that the delay between spraying and photography could be minimised, a vital consideration in view of the speed that sand dries in sunsh ine, wind, or both.

As expected, the moisture saturated the colours of both the matrix and the bones. Best results in monochrome were achieved with a deep orange filter which lightens the natural colour of the bone, whilst (on this site) leaving the matrix relatively unaltered. Following the monochrome pictures , successive exposures were made on colour and colour negative emulsions. On subsequent occasions, experiments have been made with polarising filters , and though sheen on some areas of bone may be eliminated , the slight gain in informatio n is not thought to be worth the speed loss.

Conclusion.

Photography of deliberately dampened burials has become standard procedu re at Wood Hall. Though a small amoun t of information is occasionally lost in the monochrome record, the increase d saturation of the colour and colour negative record s more than compe nsates for this.

Eric Houlder , 31 Fairview , Carleton, PONTEFRACTWF 8 3NT. 01977 702995

THE PARISH CHURCH OF ST. MARY LANGLEY BUCKINGHAMSHIRE Pevsnor, in his opening paragraph on this church, in his book Buildings Of Buckinghamshire describes it as one of the most rewarding churches in the county, and a great surprise in the vicinity of Slough.

It is indeed a most interesting church. Nobody knows for certain when a christian community decided to build a permanent place of worship here, or even why the site was chosen from among the scattered group of houses and farms that existed after the Norman Conquest.

The earliest existing part is probably the remains of some Norman masonry in the West Front, and the Nave which was built in the 12th century but reconstructed in the 14th century. Several local families have been connected with the church and have contributed to its fabric over the centuries.

Probably the most influential of these were several Generations Of Kedemisters who carried out extensive repairs and alterations. This included the building and furnishing of a very important local and national treasure ''THE KEDERMISTER LIBRARY".

This building contains many original medieval religious books and a hand written textbook by Sir John Kedermister on herbal medicines and remedies. (Late 1630). It is open to the public only three or four Sundays per year, and is well worth a visit to inspect the books and sumptuous decorations and furnishings of the family pew.

The interior of the main body of the church is curious, in that while originally supported by a range of large stone arches

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(three of which have superb stops in the form of Green Men) some arches were removed just before the Civil War and replaced by a wooden paladian style arcade of twin Tuscan Columns.

This was probably done to "open up" the Nave into the north aisle and create a sense of space.

Also in evidence is a very fine Royal Coat Of Arms , presented to the church by Sir John in 1625. The year that James the first died and Charles the first succeeded the throne.

Many fine monuments of various periods abound , the most interesting of which is dedicated to Sir John's father and grand father. This was erected by Sir John in the last quarter of the 16 century.

This enormous structure is made of several shades of white and grey marble and English alabaster and depicts the entire Kedermister family at prayer, i.e. Four adults and eighteen children all in separate statue form.

Green man (APE) Label Stop ea. 1300

Keddermister family pew, ca.1623

The rest of the building contains a wealth of small period details, many of which are easy to miss.

The churchyard is flanked each side by two ranges of 15th century almshouses built in red brick as is the main tower of the Church.

Sadly the tower is showing signs of stress and a crack has formed below the clock on the west face, and is I believe, at the time of writing the subject of a restoration appeal.

My brief description here has only touched on a few of the many fascinating aspects of this church. I do therefore recommend a vist for further examination. The present incumbent is the Reverend

PageNo.8

Jeremy Hurst, a most agreeable and accommodating man who welcomes interested visitors.

Sadly however because of vandalism and theft, the church has to be kept locked outside service times. Visits are therefore best made by prior appointment. Photographers are welcome and the Rector has indicated that we as a group, would be permitted to see and photograph inside the library, the family pew and mausoleum.

MIKE MAHER LRPS December, 1994

StMacy'sOmrch,Langley- The Tower

A 'DIGGING' MEMBER OF THE ARCHAEOLOGYAND HERITAGEGROUP OF THE ROYALPHOTOGRAPHICSOCIETY It was some 25 years ago when I decided to take up archaeology having been interested in the subject along with history since I was a boy. The motivation to involve myself in the practical side rather than the academic was a question of physical agility rather than mental activity, in other words I was not getting any younger!

So the beginning was a twelve week course at Evening Classes, learning the general aspects of archaeology, historical data from the Palaeolithic period to the present century. The artefacts which could be found were described to us and we were able to handle them at close quarters. The whole course was built up to enable us to get down to the 'digging' and a week's excavation work which was available to those prepared to wield the 'tools of the trade'.

For the professional world of Archaeology the choice of work is exten'sive and you may follow research, survey and planning, laboratory work, specialist studies of pottery, bones (animal and human), organic materials eg leather,also metals and coins, the choice is wide and tile sub-studies extensive. Before some of these studies can be undertaken the artefacts and evidence have to be seen in the ground ' Archaeology from the earth' as one of Sir Mortimer Wheeler's books is titled. This is where I came in and remain in, a pickaxe, spade, shovel (both long and small hand), fork, mattock (large), bucket and ubiquitous trowel (4" Quality WHS) being my tools of the trade.

Having decided I would like to continue 'in the field' I took a week's holiday from work and joined some members of my class on a 'dig' at Wilmington, near Dartford in Kent. This was a prehistoric site of the Neolithic period and my new trowel was slicing into clay and removing exquisite struck flints. This was an enjoyable week despite the April showers. Of the fifteen evening class students who

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finished the course only three of us decided to join the local archaeological group in Bromley, Kent. I am the only one who is still a member. This has been the pattern of commitment by students before my evening class and during the subsequent years. A nucleus of around a dozen remain very active. However, throughout Kent there are groups of archaeologists working from Dover to Edenbridge, in the inter-land of Kent and along the Thames shores. A majority of these groups are co-ordinated by the Council for Kent Archaeology and when an excavation is to be carried out, we can call upon each other for assistance if required.

As well as being involved in the immediate area of Bromley, whose group is lead by professional archaeologist Brian Philp FSA, who is the Director of the Kent Archaeological Rescue Unit and the Southeast London Archaeological Unit, I have been able to travel the length and breadth of the county to enjoy this interest of my early childhood.

Our 'base-camp' for many years had been up until 1990 at Keston, near Bromley, Kent, where for over 20 years we were 'digging' on an Iron Age - Romano British and Saxon site. Whilst this may seem a long stint, it may be explained by the fact that the site was originally threatened by the Ringway Road System which did not materialize. Therefore as we had commenced the excavation, we were able to continue in our own time. This allowed us time to cany out work for the Kent Archaeological Rescue Unit and assist in other areas in the county. Some of the more spectacular and rewarding 'digs' were at Dover, The Isle of Grain~Polhill (on theA21 towards Sevenoaks), Gravesend, Minster in Sheppey, Sit.tingboume, Rochester, Orpington and Springhead.

To give a little detail and to show the diversity of these sites:Dover - Here the work involved the excavation of the Naval Commander's house to add to the Naval forts already excavated and the

spectacular Roman Painted House (official hotel) of the port.

The Roman Painted House can be visited from April to October. Also to be seen is the Pharos or Lighthouse to the port, which had been a Roman settlement for nearly 200 years.

The Isle of Grain This is an Iron Age Romano-British site with plenty of ditches, pits and graves to be excavated . It is always windswept and faces Southend-on -Sea across the Thames estuary.

One way of getting an overhead shot of the features on the site of the Isle of Grain

Pits and ditches on the Iron Age and Roman British Settlement on the Isle of Grain

Saxon Grave - Cleaning up the skeleton using a dental kit

Polhill, Near Sevenoaks Here there were some two hundred Saxon graves of men, women and children, dug on three separate occasions the last one in the area of the M25 motorway development.

Gravesend The site is right in the centre of the town where a new shopping and office precinct was to be developed. This involved digging trial or exploratory trenches through four separate car-parks to get at the layers below. However, after a lot of hard work, several Roman pits, ditches and post-holes were found, pushing back the history of Gravesend by about a thousand years. This was truly an urban 'dig'. The only trees to be seen were in the churchyard nearby.

Here you can see the grave of Pocahontas, the Red Indian princess, who came over from Virginia but died on board ship before she reached England . Pocahontas had saved the life of Captain John Smith when he was captured by hostile Red Indians but her journey to Gravesend was to marry another sea captain/explorer. Alas this was not to be realised.

Minster, Isle of Sheppey This was to examine an area by the Minster, ahead of the building of a church hall. Walls from the 12th century were found and nearby there were several skeletons of monks who would have lived in a monastery, probably represented by the walls we discovered. It was said that a female skeleton was amongst those excavated; I cannot confirm this point!

Sittingbourne The walls and foundations of the palace of the Archbishop of Canterbury were twelfth to fifteenth century.

Rochester This was another urban excavation into the Iron Age and Roman city to a depth of 25 feet!

Orpington There were two sites - one at Poverest Road (where there is a Roman Bath house) and the other at the Crofton Roman Villa, which is open to visitors April to October on Wednesdays, Fridays and Sundays.

Springhead This is on the edge of the M2 motorway, the old Roman Watling Street, near Gravesend. This was a very rich site for artefacts as it was a temple and religious town on the road to London.

This most rewarding interest has given me a lot of satisfaction and when I first started the word amateur was used thence volunteer, but I suppose we have become somewhat semi-professional.

What's in a name?

Over these years I must have 'dug' on at least 100 excavations, some on and off for years, some for a day, and there are plenty more awaiting a visit. When I take a holiday, part of it - two weeks - yes you have guessed 'digging' on an Iron-age Romano-British Villa site near Northampton. My range of experience goes from Mezolithic to the twentieth century. In addition within our groups we have lectures, conferences, meetings and visits to interesting places.

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What about the photography you say - well all I seem to photograph are dignitaries at conferences, children doing competitions and getting prizes from various Mayors. Site and excavation photography is usually done by the Director using a couple of 'wellused' cameras, Twin-lens Reflexes, one a Rolleicord. Nevertheless I have got some photographic records of my life 'answering the questions that come from the earth'.

LEN JOHNSON

Roman Villa at Piddington, Northants , part of the Hypocaust (central heating) system showing the Pilre Pillars supporting the floors under which hot air circulated

Part of a Roman roofhung tile (tegula) showing the imprint of a cloven hoof and hob nails from a shoe

TWO BATH DEVELOPMENT FOR MONOCHROME A PERSONAL VIEW Jim Brown MIScT ARPS. In the past, before the days of variable contrast printing papers, great efforts were made to produce monochrome negatives having a contrast range that would fit the available grades of printing paper. Negatives were developed by inspection until they were deemed to be of the correct contrast. This difficult business was made almost impossible by the introduction of panchromatic films and plates which could not be handled under safelight conditions. Fortunately emulsion making became a more reliable science and film could be developed by the "time and temperature" method which is usual today. We rely on the film manufacturers to provide a film speed and a developing time which will give us good negatives.

For many years I believed the manufacturers. I believed that their research scientists knew much more about films and developing than I did. So photography seemed easy - just wave the light meter about a bit, set the camera to the numbers supplied by the meter and take the picture. Development was the boring bit - simply process for the time and the temperature that the manufacturers recommended.

I was fairly happy with the prints produced by this method. There was little detail in the highlights and not much in the shadows either but it was possible to burn in the detail in _the highlights.

Reading the literature and talking to those who produced good prints suggested that all was not what it seemed. Manufacturers' quoted film speeds, while not actually incorrect, did not seem to be determined under normal conditions of use. (Normal, that is, for the subjects that I was photographing.)

The techniques for the determination of personal film speed are published in several places and I will not go into them here. A couple of examples will be sufficient: I find that Ilford' s HP5+ should be rated at about ISO 160/23° compared with the manufacturer's figure of ISO 400/27° and FP4+ at about ISO 50/18° compared with ISO 125/22 These figures are based on my equipment and processing methods. In your system they may well be different. It is unlikely that they will be faster but do check and find out.

Using your own film speeds will ensure that you see sufficient detail in the shadow areas but will, if you develop the films according to the manufacturer's quoted times, produce highlight areas which are very difficult to print. It is possible to shorten the developing time in conventional developers to compensate for what the makers would consider to be over exposure , but testing must be done for each film and developer combination. If you also take into account the further testing required for expansion and contraction of scales (as in the Zone System) and that, for best results, negatives should be developed individually, it is very unlikely that you would take any photographs except test pictures.

The prints were made on "normal" grade paper. If the detail is available in the negative we can chose whether or not to include it in the print. If it is not there we do not have a choice. I would like to propose a method of working that will allow you, with very little testing, to take photographs on any films you choose and process these different films together.

First you need to know the speed of your film. If you have not done the tests then divide the maker's speed rating by two. When you see the results you will be able to make the necessary small adjustments. Then expose for the shadows. Zone system theory says that you measure the brightness of the shadow area in which you want to show details then give two stops less exposure. Finally develop the film in a two bath

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developer. What is said to happen is that in the first bath, which contains only developing agent and preservative, no development talces place. The solution merely soaks into the emulsion. The second bath, which contains an alkaline accelerator, initiates the development process. In the heavily exposed parts of the film (the highlights) development occurs rapidly until all the available developer in that part of the film is used up. In the shadow areas development continues until all the available silver has reacted.

What actually happens is that considerable development takes place in the first bath because the preservative itself is alkaline. The second bath completes the process. This gives a negative in which the highlights are not blocked and the shadows contain lots of detail - in other words, a low contrast ("soft") negative.

Thus the only significant time is that in the first bath. Times quoted for the first bath vary, but in general all seem to be a little short. For example, times for the D-23/sodium metaborate process are quoted as 3 .5 to 4 minutes in each bath. However I find that 5 to 6 minutes in each bath is about right. Using the Stoeckler solutions I prefer to use 5 minutes in the first bath for 35 mm films and 6 minutes for roll film followed by 5 minutes in the second bath in each case.

The technique then is this: make sure that all the solutions and the developing tank are at 20°C. Pour in the first bath and agitate gently each minute for the required time. Pour ~ut the first bath and add the second. Do not rinse between the baths. Be careful not to mix the two solutions. Agitate gently each minut~ for the required time. Pour out the second bath, use a stop bath and fixer in the normal way. Keep the solutions for reuse -quoted figure for the capacity of the Stoeckler solutions is up to 25 rolls per litre ( 100 sheets of 5in x 4in or 25 sheets of lOin x 8in.).

Results so far indicate that two bath development is an ideal way of

controlling negative contrast. I have been able to make prints, without any manipulation, on normal grade paper from negatives made inside churches. These negatives include windows and dark areas under pews.

Both areas show good detail.

Do try the technique - you may be surprised just how good it is. Let me know how you get on.

D 23 two bath developer for sheet film (More grain than Stoeckler) Solution A Metal Sodium sulphite (anhydrous) 100.0g Water to make 1-OL

5.0g

Solution B "Kodalk,' (Sodium metaborate tetrahydrate.)

10.0g Water to make 1.0L Approx. 5 to 6 minutes in soln. A then 5 minutes in soln. B. HP5+ ISO160/23°. FP4+ ISO 50/18°.

TMX ISO 64/19 °.

Stoeckler developer for"miniature', films Solution A Metol 5.0g Sodium sulphite (anhydrous) 100.0g Water to make 1.0L SolutionB Borax (Sodium tetraborate decahydrate.)

10.0g Water to make 1.0L Approx. 4 to 5 minutes in each solution for 35mm and 6 minutes + 5 minutes for roll film. Film should be rated at half manufacturer's speed rating.

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Solution A

Solution B

Leica two bath developer Metal 5.0g Sodium sulphite (anhydrous) 100.0g Water to make 1.0 L Sodium sulphite (anhydrous) 6.0g Sodium carbonate (anhydrous) 15.0g Water to make l.OL

Approx. 5 minutes in solution A then 3 minutes in solution B. (Note: Probably similar to Leicanol. Slightly finer grain than ID 11,)

Fig.1 Exposed and developed according to the manufacturers recommendations.

Note the lack of details in the shadow areas, especially the roof and in the highlights, particularly the window pattern on the floor.

Fig 2. Exposed at half manufacturer's recommended film speed and processed in D23 / sodium metaborate two bath developer.

Good detail is visible in the shadow of the roof and in the windows and the window pattern on the floor.

STAVKIRKER- THE STAVECHURCHES OF NORWAY R.Keith Evans FRPS Relatively few British holiday makers turn their faces north to Scandinavia: most head for southern sunshine. But for those that do venture north, and in particular to Norway, the stunning scenery and architectural treasures make a holiday there well worth while.

For the heritage photographer, Norway's 'stavkirker' - the so-called stave churches once common throughout northern Europe - are a subject not to be missed. Some 30 remain today; most can be visited in the course of a two-week tour by car.

Viking ships and wooden buildings Throughout the Middle Ages, northern European builders chose wood as the natural construction material for their houses , barns and churches . In heavily forested Norway and Sweden there were few altern atives.

Christianity was introduced to Norway around the year 1000. Already Viking shipwrights had developed a unique skill in building oceangoing vessels, and it was natural that the earliest church builders turned to the Viking' design and construction methods. Indeed, of the estimated 800 wooden churches raised in Norway in the ensuing 50 years, it is often said that they resembled Viking ships turned upside-down.

The initial, 12th-century grou nd plan comprised a simple rectangular nave ('skip; or 'ship' in Norwegian ) and square chancel, often with side aisles. Roofs were tiled with birch bark and steeply sloped to reduce the build up of snow. The earliest and simplest construction method was to place debarked tree trunks vertically, at around six-foot intervals, into

Heddal Stave Church is Norway's largest.

Dedicated in 1147 and completed around 1250, it is triple-naved with an apse and surrounded by a covered single-storey ambulatory.

Its interior was extensively decorated with telemark ' rose painting' in the late 17th Century.

The stave church at VAgAwas first recorded in 1130.

It was rebuilt in cruciform style about 1625.

Note the separate wooden bell tower.

holes dug directly in the ground. These uprights, the 'staves' were then joined and infilled by horizontal planking to form the walls.

An inherent defect was clearly the lack of dry foundations: the buried part of each upright was prone to rot and the building soon became unstable.

More practical and the basis for today's remaining stave churches, was to set the foot of each stave into holes cut in huge horizontal sill beams, themselves raised above the ground on boulders or a course of dry stones.

Cross beams were laid across the top of the staves; above them, the roof framework consisted of self-supporting pairs of scissor beams a design widely used in the stone churches being built in England and France during the same period.

Bell towers, however, when introduced, were not part of the church proper but separate wooden buildings nearby.

Once this basic design was settled, elaboration became possible. The larger 13th-century churches featured multiple, pagoda-like roofs capped by conical towers and dragons-head finials projecting from the gables - again, reminiscent of the prows of Viking ships.

In some churches, the wooden sill beams were extended outwards at the sides and eastern end to support an enclosed ambulatory; women and the sick could congregate here to listen to the service through small openings in the inner walls. It was here, too, that the men left their weapons before entering the church.

Interiors - plain and utilitarian Stave church interiors were originally stark and comfortless. There were no seats - the congregation stood or knelt - and little decoration or

One of four preserved stave churches in the Numedal, that at Rollag dates from the mid-13th Century. It was enlarged in the late 1600s, and is noteworthy for its richly decorated Renaissance interior. furniture except for the altar, pulpit and font. They were also extremely dark, the only daylight coming through small openings high up on the side walls.

By the mid-13th century, wood-carved ornamentation on porches and facades became more common, often depicting not only Christian themes but scenes from Norse mythology. The interiors were also decorated with carvings, or painted with religious scenes, animals and foliage.

Over the ensuing centuries, the vast majority of stave churches rotted away, or were demolished and their timber used for farm buildings and cottages. Of those remaining, some were rebuilt or extended during the

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The altarpiece in Heddle church dates from 1667. Its central painting is of the Crucifixion with a small inset showing the Last Supper.

Note also the 17th Century rose painting on the surrounding wall timers.

(Kodachrome 64, 19 seconds atf5.6)

Torpo stave church, oldest remaining building in the Hallingdal, was dedicated to St.Margaret in the late 1100s.

Its ornate ceiling canopy was painted in the 13th Century.

The typical stave uprights and ceiling framework are clearly evident.

(Kodachrome 64, 8 seconds atf5.6)

Renaissance period, often with transepts to form a cross or 'crucifix' style. The same period also saw much added decoration, paintings and carvings of religious themes or, in some parts, the floral 'rose painting' that flourished in the county of Telemark.

By the late 19th-century, Norway recognised the value of its now almost unique stave churches. Today, those that remain in their original locations are carefully preserved, while three or four have been transported and re-erected on outdoor museum sites which re-create Norway's rural past.

Exploring the churches today How best to see these national treasures? In planning any trip to Norway, the weather will play an important part. Most sunshine and least rainfall are experienced in May and June; attractive lighting conditions can also be found during the few daylight hours of the midwinter months, with clear blue skies and a brilliant low sun. Then the 'heritage' photographer can profitably combine his picture-making with a skiing holiday - but remember that even in south-central Norway the January sun rises about 9.30 am and sets before 3 pm.

Best, perhaps, to choose the month of May. Snow will still cover the higher ground, but most mountain roads and passes will be open, and in the western valleys the apple blossom will provide an added bonus for landscape pictures.

About half of the 30 preserved stave churches are located in the principal valleys radiating from the Oslofjord - Numedal, the Valdres valley and Gudbrandsdal. North of the Jotunheim mountains are the churches of V!gA, Lorn, Rj1Sdvenand Haltdalen (the latter the only remaining example of the east Scandinavian type with a single arched roof, once common throughout Trondelag and northern Sweden); and the remainder lie towards Bergen and the western fjords.

Many visitors from Britain take their own car, arriving in Bergen or (via the Harwich-Gothenburg ferry) at Norway's southern frontier near the fortress town of Raiden. Air travellers normally arrive in Oslo , where car rental - both in the city and at Fornebu airport - is fast and convenient.

From Oslo, a tour of the three valleys mentioned, visiting the principal stave churches and other historic sites, could occupy five or six days; a further week should be devoted to a circular tour encompass ing Vdgd, Lorn, the Sognefjord and Bergen, and returning via the southernmos t churches of R0ldal, Eidsborg and Heddal. For the tourist arriving at and departing from Bergen, the itinerary can easily be reversed .

But do check with the Norwegian tourist office regarding opening times and dates of the churches and other sites - usually from mid-May onwards.

Photographic Notes

All 'luxury' goods - including film and processing - are expensive lhroughout Norway. The moral for photographers is to make sure they lake with them all the film or plates they might require.

The pictures illustrating this article were primarily taken on 35 mm Kodachrome, mailed to Switzerland for processing, then returned to my home address in the UK. For black-and-white reproductions - such as lhc church interiors on these pages - I made internegs on Agfa APX 25 film, developed in Paterson's new FX39 for no more than four minutes 11120 deg C to ensure fine grain and low contrast.

R K EVANS FRPS

The Royal Photographic Society of Great Britain

Archreology and Heritage Group

Heritage Photogra:phy Spring 1996 Issue 3

Designed and produced by Alex Simmons

C,101111

II lo â&#x20AC;¢c:oddiu-ds'- Lutycns &Jekyll House in Surrey

ISSN 0958-0565