Behind the scenes: meeting mechanical sculptor, Nik Ramage

For the third print edition of Ernest Journal, photographer Colin Nicholls headed to a medieval farmhouse in Monmouthshire to meet Nik Ramage, a kinetic sculptor who makes machines the world didn't know it needed – including a mechanical hand with forever tapping fingers and a free-range pen. Here Colin talks about his approach to the shoot, his choice of Fuji X-E2 camera and then shares a few shots that didn't make it into the magazine...

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A few months back I was asked by Ernest Journal to head down to Monmouthshire and photograph a man who builds mechanical sculptures. As always, I was game and treated to an incredible assignment with massive photographic potential. 

We arrived at Nik Ramage's house nestled in the South Wales countryside. I had a great feeling walking through the door, spotting unusual things all over the place, then Nik led us down the garden to his old chicken shed where he does most of his work.

For this job I took just one Fuji X-E2 body with 23mm and 56mm lenses and swapped them as I needed them. This was one of my first proper outings with the 23mm and I was thrilled with how it felt to use and the images it allowed me to make. I tired to keep my shooting style fairly realistic, while getting a nice amount of coverage for the magazine.

My editorial work is starting to gain real traction and allows me to visit some great places and meet fantastic people – something I'm working on expanding this year.

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Colin Nicholls is a Cardiff-based photographer specialising in weddings and editorial work, with a passion for landscape and street photography. He shoots on Fuji X100 and Fuji XE2.

colinnichollsphotography.com

 

 

 

 

 

You can see more of Colin's images and read about Nik Ramage's work in the third print issue of Ernest Journal, on sale now

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Timeless classic: the crisp white shirt

From its humble origins as medieval underwear to its renaissance in the office block, Ernest delves into why the white shirt has proven everlasting as the classic clothing staple

“A garment for the upper part of the body, made of linen, calico, flannel, silk, or other washable material. Originally always worn next to the skin; now sometimes an undershirt or ‘vest’ is worn beneath it. Formerly a garment common to both sexes, but now an article of male attire with long sleeves (often terminating in wristbands or cuffs).” Oxford English Dictionary

The crisp white shirt has ridden the tumultuous tide of social and sartorial changes since its origins in the Middle Ages and holds fast as a timeless icon of British men’s formal (and often informal) attire. It has long dominated the menswear landscape but never more so than now, with its prevalence in hugely influential American series like Mad Men and Suits, setting off the cut of a 1960s tailored suit or the boldness of a tie to striking effect.

The oldest known example of the “highly sophisticated” shirt as we know it was discovered by archaeologist Flinders Petrie in an Egyptian tomb, dating back to c.3000 BC. Over the centuries, the collar widened to epic proportions with frills and ruffles in the 16th century and shrunk back to modest and respectable sizes in the 19th century, while in the 18th century, shirt tails were considered to be a sufficient substitute for underpants. In 1930s America and 1970s Britain, the colour of your shirt connoted your social status, hence the term ‘white collar workers’ for middle-upper class office types and ‘blue collar workers’ for lower class industrial workers.

These days, just about anyone can wear a crisp white shirt without declaring a social or political stance and can sport it open-collared with a battered pair of cords as well as shipshape with a sharp suit and shades. That is why we love it so.

Underwear

Ever wondered why Elizabeth Bennet in the BBC adaptation of Pride & Prejudice blushes so deeply at Colin Firth’s Mr Darcy striding out of the lake in his wet white shirt? Aside from the fact you can see his nip nips, up until the late 19th century, a visible, uncovered shirt was considered improper, as it was really worn as underwear. In medieval artworks, the only people depicted wearing uncovered shirts were humble characters, such as shepherds and prisoners. Put your nip nips away, Colin, you ruffian.

Collars, cuffs and yokes

“Would you like a two epic split-back yoke on your shirt, sir?” No, the tailor isn’t asking if you’d like him to crack a pairof giant eggs on your finery; the yoke is the fabric fitted across the top shoulder area, which enhances the fit of the shirt. Collars come in various shapes; there’s the windsor collar to accommodate the windsor knot tie, the button-down collar so you can fasten the tips down to the shirt and the wing-collar; perfect for the bow tie. Cuff-wise, you can choose single (barrel) cuffs for a more informal style or double (French) cuffs, which are twice as long as normal cuffs and worn folded back on themselves and secured with a cufflink; the done thing at black tie events.

The weave

Cotton is the daddy when it comes to classic white shirt material, for obvious reasons, such as its breathability and durability, but there are a choice of weaves you can go for, depending on the occasion and what you’re wearing it with. Oxford weave has a grainy, basket-weave appearance, making it the go-to for a casual look, while poplin is smooth and glassy for a more formal sheen. There’s lots of other natural fibres besides cotton revolutionising shirting as we know it: there’s wool; ramie (a kind of nettle); silk; heck, even bamboo and soya.

CONTACT: An experiment in spontaneous portraits, phase 2

Photographer Chris Blott continues his project for the digital edition of Ernest Journal: a series of unplanned portraits where each person nominates then interviews the next. Filmmaker James Aiken picks up the conversation with surfer and photographer James Bowden

Photo: Chris Blott, Interviewee: James Bowden

Photo: Chris Blott, Interviewee: James Bowden

James Aiken: How did your relationship with the sea begin? 

James Bowden: I guess it began in North Devon, when my mum forced me to try surfing. I wasn’t really interested at the time (I was 11 or 12) but became instantly hooked and have been in love with and obsessed with surfing and the sea ever since. My mum’s probably regretting that one.

James Aiken: You often say the most fun you have in the water is bodysurfing. Why?

James Bowden: It’s such a simple pleasure. It’s just you, some fins and maybe a small handplane. Your expectations are low, so just a simple slide along a wave, or head dip under a lip can be the best wave you’ve had in ages. Plus the beach near my house sucks for surfing.

James Aiken: You’ve roughed it on trips in the past. Do you feel less inclined to spend time in uncomfortable situations as you get older?

James Bowden: Yes, I would say so! As your wealth grows larger and your body grows older, you start taking those comforts you couldn’t afford in the past for granted. But, I think a few cold nights in a tent or under a tarp brings you back in line. It’s more fun, and no one’s interested in a story involving a boutique hotel.

James Aiken: Why do you use old film stock for your personal work?

James Bowden: It just makes a change from digital; it gets you away from computer screens and it’s way more fun. You can take your camera and a bunch of film away with you, pick it up, shoot a picture and put it down again and enjoy your surroundings. No checking the back of the camera or downloading cards.

James Aiken: Your photography is very reactive. Do you find yourself orchestrating a situation in order to get a shot you have in mind?

James Bowden: Sometimes, when I’m on a shoot and need to get something specific, I’ll try to stimulate a moment that might make a good image. But I would much rather take a step back and observe and, as you said, be reactive to what’s going on in front of me. A real moment always looks better.

James Aiken: Do you have any advice on how to put a tent up in a sub zero gale?

James Bowden: Before attempting to put up the tent, make sure you tell everyone how amazing it is, how easy it is to put up, and how long it’s been a trusted companion of yours, and then try to keep your cool as one by one, all the poles snap and shatter.

James Aiken: Who have you chosen to be next in the CONTACT chain?

James Bowden: I nominate Jackson Lynch who lives on the banks of the Teifi near Cardigan.

See James Bowden's travel and adventure photography on his website.

CONTACT is exclusive to the digital editions of Ernest Journal. In part three James Bowden interviews Jackson Lynch, owner of fforest, on the blog next week.

Chris has mainly worked as a photographer in the fashion industry, based in London and New York. He is now establishing Quiggleys - beautifully crafted, simple knitwear made in Scotland.

Dans Le Noir

There is a restaurant in East London where mobile phones are outlawed, non-fussy eaters are welcome and trust in your waiter is key, as Abigail Whyte discovered

Dans Le Noir means ‘in the dark’. Put simply; a restaurant with no natural or artificial light, where you eat in pitch blackness, served by waiters who are blind or visually impaired. The idea is to intensify your other senses through limiting the sense of sight, to gain a new perspective of the food you eat while also raising awareness of visual impairment. This concept of ‘dark dining’ or ‘blind dining’ was founded in Paris in 2004, and since then other Dans Le Noirs have popped up in London, Barcelona, New York, St Petersberg and Kiev.

After hearing it praised by the illustrious Stephen Fry on an episode of QI (a source of most of my knowledge and trivia), I took a friend along one winter’s eve, excited and anxious at the prospect of entering a pitch dark room full of strangers and cutlery. We were greeted in the (lit) reception area by our blind waiter and guide Darren Paskell. We chose from four secret set menus – Surprise, Meat, Fish or Vegetarian – which gave no other indication of what we were going to be served later. I opted for the Surprise menu.

We were asked to put all bags, coats and other trip-up-ables in a locker along with our mobile phones and luminous watches. “It’s amazing how many diners are reluctant to give up their phone, “Darren told me. “But that’s the beauty of Dans Le Noir; you sit and eat with your friend or partner with absolutely no distractions, just each other.”

Darren then placed my hand on his shoulder; instructed my friend to do the same on my shoulder, then he led us from the lit world through two black curtains into the dark world.

“Has anyone ever freaked out at this bit?” I asked him as we passed through the first curtain.   “Yes, my mum,” he replied. “She’s very claustrophobic. We got past this first set of curtains and my mum just said “No, I can’t go any further.” I had to take her back to the lounge where she was kept happy with wine. My dad went in and had his meal, though.”

Into the darkness

After the second curtain, that was it – I couldn’t see. I waved my hand in front of my face. Nothing. The first thing that struck me was the noise. It was like walking into the London Stock Exchange with the lights turned off. I don’t know whether losing the power of sight instantly makes you elevate your voice but it was certainly the case in Dans Le Noir’s dining room, laid out before me like a black and noisy void. As we were led to our table I felt the draft off waiters walking past, heard the clattering of cutlery and exclamations of “Cous cous – that’s definitely cous cous”, “I’ve just spilled my water!” and “Sorry, that was my leg”.

Darren seated us at what felt like a marble table, and gently guided our hands to show us where our cutlery, wine glasses and other dining paraphernalia was. I asked him about the layout of the restaurant. “The restaurant seats 60 people altogether and the layout of the tables never changes, otherwise things could get very confusing,” Darren’s voice, just above my head, sounded louder and deeper, almost of a late-night radio DJ quality. “Each waiter carries a walkie-talkie so we’re all in constant contact with each other and the kitchen.”

He then explained some of the slick and efficient procedures put in place to ensure each diner is given the correct plate of food. “Most of the food is served on square plates but any special dietary requirements are served on round plates so the waiter doesn’t accidentally give it to someone else.”

A guessing game

My first plate of food arrived and I gingerly gave it a prod with my fingers. Some sort of raw fish on a mound of something herby and grainy. “Salmon,” I declared triumphantly, after a mouthful. “No, it’s tuna,” a voice piped up next to me. We were sat next to a couple on a blind date (a common thing for diners to try at Dans Le Noir), one of whom was eating the same starter as me. Before I knew it, a conversation about taste and texture and other madcap dining experiences was struck up with these faceless strangers, which I doubt would have happened so freely and easily if we were eating in a normal lit restaurant obstructed by social barriers and conventions.

My main course was the most puzzling to fathom – I couldn’t work out what meat I was chewing. It was beefy, so I left my guess at that. I discovered later, when our menus were revealed to us back in the lit lounge area, I was very wrong. I won’t tell you what the meat was as I don’t want to spoil the surprise. Let’s just say it’s a stripy animal often found on the savannahs of Africa.

Darren joined us for a drink after the meal and apologised for tripping over a chair next to me when he was serving my dessert course earlier. I hadn’t noticed at the time. “I think my spatial awareness is pretty outstanding, if you don’t mind me blowing my own trumpet. I’ve only ever spilled something over someone once, which wasn’t my fault or theirs. They unwittingly put a glass of water smack bang in the middle of the table.”

I asked him what he enjoyed most about working here. “The interaction. Having fully sighted people putting their faith and trust in you. In most restaurants the waiter is there to be seen and not heard – they’re expected to deliver the correct meal to the correct person and that’s about it. Here, we’re guides, not waiters. People open up and want to know more about us. In a normal situation you might come across a blind person walking along the pavement and that’s it – there’s no time or call for interaction.”

Stripping it back

While the food wasn’t exactly boundary pushing (although my main course was certainly a surprise), the experience of sightlessly pouring myself a glass of water and sharing a meal with an old friend with nothing but the sound of our voices was stripping social interaction back to its bare essentials. No phone. No visual distractions. No judging on appearance. Dans Le Noir is the perfect place to shed your skin and just be yourself, or perhaps even be someone else for the night if you wish.

As we were leaving, I spotted a couple sat at a candlelit table in the corner, looking rather engrossed with each other. I wondered if they were the blind date people I’d chatted to in the dark earlier. Maybe. I thought it best to leave it a mystery. 

Dans Le Noir, 30-31 Clerkenwell Green, London EC1R 0DU
london.danslenoir.com

This featured in our fifth digital edition of Ernest Journal, available to download now.