This is just an old-fashioned love story… Odin (galgo cross) and Maña (podenco) have been together almost all their lives.They have been loved and they love each other very dearly.But things have not always run smooth for them.At the age of eleven they lost their home and almost everything they held dear when their owner died, and they found themselves in the care of Galgos del Sol (GdS) in Murcia in southern Spain.At least they still had each other, and that must have been a solace.
It’s always harder to home aging dogs. Odin and Maña joined Galgos del Sol’s “Retirement, Sickly and Crazies” gang.What’s that?As Tina Solera of GdS said “The saddest part of rescue for me is when a dog is going to die in the center. Basically dogs come to our home that are at risk of dying in the kennels. The chances of (Maña and Odin) getting a new home together are slim so they are living with us under the Retirement qualification”But Galgos del Sol never gave up hope that Odin and Maña would be homed and moreover, be homed together.
Pause a moment…Anyone who thinks this story is going to have a sad ending has never fallen under the spell of a senior sighthound or experienced their powerful charms.
Odin and Maña became firm favourites with the volunteers who come from all over the world to help at Galgos del Sol.Word about them spread, and the pair developed a huge fan club on Facebook and Twitter.Among their followers was the wonderful Carmel of Greys Eleven Plus, which helps older greyhounds who find themselves homeless.
Let Carmel take up the story from here.She writes “I am thrilled and honoured to be allowed to offer Maña and Odin a place here at Greys Eleven Plus. Their story touched me deeply when they first came to GdS – this next and last step in their journey through life will be a happy one. I will keep everyone updated on their progress.”
So they all lived happily after.Odin and Maña travelled all the way from Spain to Norfolk in September.They are now living happily with Carmel and the other senior sighthounds to whom she has offered a sanctuary and a last, loving home. And they trying to bring service up to Spanish standards (Odin grumbles that breakfast is always late even before the clocks went back and Maña is still trying to share Carmel’s bed instead of the sofa). And because they are now just up the road from me (well, a Norfolk country mile or two), we got together and took some pictures.
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Royalty returned to The Royal Station at Wolferton when a troupe of elegant greyhounds arrived there for a photoshoot a few weeks back. The railway station at Wolferton was used by the royal family and their guests en route to Sandringham right up till the late 1960s. The trains and the tracks are gone now, but the station is perfectly restored as it would have been in the days when Queen Victoria came visiting, or when her son, Edward VII, and Tsar Nicholas were caught travelling without tickets.
Greyhounds too have longstanding royal connections. Tutankhamun and Cleopatra VII were some of the earliest royals known to have owned greyhounds. The breed was popular with the British royals throughout the Middle Ages and commoners were at one time banned from owning greyhounds, following a ruling by King Canute. Perhaps the most famous royal greyhound is the stunning black greyhound girl Eos, brought to England by Prince Albert on his marriage to Queen Victoria, beautifully painted by Landseer as a surprise Christmas present for Prince Albert from the Queen in 1841 and again with their daughter Princess Victoria in the same year.
When the Norfolk-based greyhound rescue, Kerry Greyhounds UK asked me to do some photographs of the hounds that they have available for rehoming, the Royal Station at Wolferton seemed the perfect spot to photograph this most regal breed. My greyhound models travelled from all across Norfolk, some with their foster carers and some with Pete, who drove the Kerry Greyhounds transporter halfway across Norfolk and even further south to bring some of the greyhounds currently waiting in rescue kennels to the photoshoot.
The hounds all behaved perfectly, unfazed when the dogs from the house across the tracks came to tell them off for invading their territory. And none of the hounds seemed to notice the cat strolling nonchalantly on the opposite platform; perhaps they were too distracted with all the studio lights and the treats on offer – or perhaps they should have gone to Spec Savers… They all bore the waiting about and the wardrobe changes with good grace. And all slept very soundly when they got back to their beds after a long day’s work.
I am so grateful to Richard Brown, owner of the Royal Station at Wolferton, for allowing us to use the grounds of his home for this shoot. The restoration work he has done at the station is a true labour of love and a testament to his perfectionism, as well as an important contribution to the preservation of our national heritage.
Phylly Clarke of Greytcoats kindly loaned some of her beautiful hand-tailored Harris tweeds for the shoot. Greyhounds come in a surprising variety of sizes and shapes, and for luxury fitted coats like these you really do need the made-to-measure services of an expert like Phylly. I’m afraid those of us in charge of wardrobe on the day were not always very good at matching dog sizes to coats so apologies to the tiny greyhounds who found themselves modelling extra-large coats (poor Ruby!).
Bronwen Catton, Pete and all the volunteers from Kerry Greyhound UK got the hounds to the shoot, ensured they were all looking gorgeous and got them safely home again. I’m grateful to them all for giving up an afternoon for this little project.
What you’d like to see now is some of the greyhounds, yes? Sweet-natured Ben has already been homed. Lovely Lily is reserved for a home. But still available for adoption are: gorgeous leggy Jenny (a canine supermodel if ever I saw one); sweet, shy Ruby who was so touchingly brave; stunningly handsome Magee (the George Clooney of the greyhound word); dear little Ivy (who had sight-saving surgery paid for by Kerry Greyhounds and is now ready for her forever home); confident charmer Blue; dashing Denzel; and Barney (Rubble). You can see more about each of them on the Kerry Greyhounds website.
When I first got my new (old) Rolleiflex twin lens reflex camera (see here and here) I knew I would need some equipment to go with it but, being profoundly ignorant about vintage cameras, I wasn’t quite sure what to get. A few months on and I have learned a bit and spent a bit more. Here’s what’s currently in my camera bag, what I’ve found works, and what I probably wouldn’t buy again (the things I think were excellent purchases are in bold below):
Billingham Hadley Digital bag: I knew from the outset that (though it is lovely and the design is perfect) I would not want to put into tough daily use the original Rolleiflex leather case that came with my camera. I’ve never been a great fan of Billingham bags, always been more of a Think Tank girl myself. But I walked into the Wex showroom in Norwich, there it was on the shelf, it fit the camera perfectly with a space at the side for my exposure meter and a pocket for film, phone etc, and I knew I’d found the perfect bag.
Sekonic L-758D exposure meter: I already owned this, it fits in the bag nicely and it does the metering job perfectly. Though to be honest these days I mostly use the Pocket Light Meter App on my iPhone – it does the job just as well for a fraction of the price.
Mechanical CableRelease:I had faint memories of using one of these with my original Rolleiflex, in particular for long shutter speeds and tripod work. I remembered right.
Film: add to taste! I am currently still playing the field but loving, in particular, Kodak T-Max and Ilford Delta 3200.
Eddycam Camera Strap: My decision not to subject the original Rolleiflex case and strap to daily use means I need to find an alternative strap for my Rolleiflex. I tried going without a strap for a bit but it felt too risky. I tried one of the Optech Pro straps I use on my DSLRs but it was too heavy for this little camera. I’m currently using a beautiful Eddycam strap, nice and thin, butter-soft elk hide leather, and it feels heavenly about the neck. Ideally I’d like something narrower still, with a quick detach system for tripod use but meanwhile this strap is suiting me nicely.
Gitzo GT1544T Travel Tripod with Really Right Suff BH-30 Ballhead: Compact, light as a feather, small enough to tuck into a big handbag, astonishingly stable. I’ve had this tripod-head combo for several years, it’s my back up for my DSLRs when I’m feeling too lazy to carry a big tripod. Married to the Rolleiflex it is a match made in heaven.
Rolleifix quick release tripod mount: You could screw an Arca Swiss plate direct into the base of a Rolleiflex, but it is not a good idea – the base of these cameras is thin and soft, and you can allegedly damage it by screwing in a tripod plate direct. Instead the advice is to use one of these Rolleifix plates which are designed for the job and spread the load properly. I got mine on Ebay. It works beautifully.
Footnote: Have you ever walked into a camera shop and had one of the staff come up to you and say “Please, please, let me look at your camera”? No, neither had I, till I got my Rolleiflex.
It’s a couple of weeks now since I walked out of the camera shop with a vintage Rolleiflex camera in hand and a silly grin on my face. Our first weeks together have been blissful, as all the best honeymoons are. I remembered how to load the film, no problems at all (it’s like riding a bicycle…). I remembered too how very pleasant is the experience of shooting from the solar plexus, how you as photographer remain present in the moment and connected with your subject in a way you never can be when you hold a camera to your face.
My experience with the viewing screen is more mixed. Mine is one of the older Rolleiflex models and the screens of these are very dark indeed. When I first looked into it indoors, I was sure something was wrong as I could see almost nothing. Outdoors it’s a little easier – light and shadow are definitely distinguishable. You can change the screen (at significant expense) for something brighter like a Maxwell screen but some say that the original Rolleiflex screens are better for the way the subject jumps into focus when you find the sweet spot.
When I picked up my first batch of films I naively thought 400 ISO was going to be plenty fast enough. Alas, no! (How we have all come to rely on the stellar high ISO performance of modern DSLR cameras in recent years!) Measuring light levels indoors or on typical overcast winter days, I realised I was going to have to work at very wide apertures and very, very slow shutter speeds.
In spite of the practical challenges of shooting on an old camera like this, there is something very endearing about this way of shooting. The pace is so different from what I have become used to. Take out an exposure meter (or use an iPhone app to measure the light level) and set your aperture and shutter. Lift the viewfinder, compose the scene roughly, focus roughly, walk about a bit, or even a lot – as the lenses of these cameras are fixed focal length you need to move much more to work the composition. Lift the magnifier to the viewfinder and focus properly. Check the exposure again, think about depth of field, think about how slow you dare go with the shutter, and change the settings if necessary. Check the focus, lower the magnifier, check the composition. Breathe in, half breathe out and hold it. Shoot.
There is also an unexpected advantage to the very dim viewfinder: the way it renders a scene as shapes and light and shadow encourages much better attention to composition and helps me to see how the scene would look in black and white.
Anyhow, I expect what you’d really like is to see is what sort of photographs a seventy year old camera manages to take? I quickly put two films through the camera to make sure everything was working. Started off with the Kodak Tri-X and the family dogs (as you do) in fairly low indoor light. For the second film I tried Kodak T-Max and decided to throw caution to the wind, took the beast to Cromer Pier on a day when the wind was so strong it was difficult to stand and the waves were sending spray everywhere. With some trepidation took both films to Bayeux in London, who offer a 24hr develop and scan service. And the next day I received an email with my scans attached. It seems I have not bought an expensive bookend but an actual working camera. I can apparently hand hold 1/15s without camera shake. I can apparently focus manually using that impossible viewfinder. And that tiny little lens is astonishingly sharp. A couple of my test shots are below.
FOOTNOTE: For my first two films I used Kodak Tri-X and Kodak T-Max 400. I am straightening verticals in LR, doing slight tonal tweaks in Photoshop and a final tint. No cropping. Am loving the way these images print, grain and all…
A year or so back I started a personal photographic project to capture my greyhound girl Jasmine in her senior years, to abstract her essence and her mannerisms in a minimalist style. As the project developed, it has extended to other hounds too, going beyond the specifics of the subject to distill an essence of greyhounds as a breed.
Jasmine is in her fourteenth year now and even more frail than she was when we started this project, but we still sometimes find a moment for another image in this series, and I treasure the images more and more as the collection builds and as time goes by.
I offered a couple of these images as a fine art prints in some recent charity auctions for greyhound and whippet rescues, printed on beautiful fine art Platinum Baryta paper (Canson Infinity for the fine art paper junkies among you…) which is such a delight to work with. Several people since enquired about purchasing similar prints from the series so I decided to publish a small selection on my website here. If you keep a close eye on my current donations to charity auctions (follow me on Facebook or Twitter for the latest news), you might just pick up one of these or a new one from the series, as well as helping sighthounds in need.
I have a new camera. Well, not exactly new as it’s even older than I am, but new to me anyhow.
This story goes back a long way, all the way to my childhood in fact. My first proper camera was a Rolleiflex twin lens reflex, a delight to handle, immensely flattering of a novice photographer’s skill and always remembered by me with particular fondness. So when my husband found an article about vintage cameras and suggested he bought me one as a birthday present, I said yes. It took a little while to bring this project to fruition – about 15 months actually, while I hummed and hawed over which model I wanted (I was absolutely sure I wanted a Rolleiflex) and fretted about asking him to pay the astronomical prices now asked for the sought-after later Rolleiflexes with Planar lenses. I tried to buy one on eBay but the seller got very shifty about my inspecting and collecting in person, which started alarm bells.
So in the end I decided the best was the enemy of the good, and a couple of weeks ago I pottered off to the splendid Aperture in London and bought the first Rolleiflex I’d actually held in my hands for more decades than I care to count. To be honest it was a sale the moment I set eyes on it, and when I opened the case and smelled the wonderful musty, musky smell of my childhood photography days, like Proust I was completely lost. I went through the motions of trying different shutter speeds, checking the crank worked, the focusing knob was smooth, and the lens was clean. But it was already a done deal. Aperture offers buyers a couple of weeks’ grace to put a film through the camera and check all is well, so it felt a safe decision. Would it take pictures still, over half a century since it was made? Would I remember how to use a camera like this? Or had I just bought a rather expensive bookend? To be honest I didn’t much care. Hell, here was a portkey to my photographic past, and I was in!
For those interested in the technical side of things, my new plaything is a Rolleiflex 3.5B with a Carl Zeiss Tessar f3.5 75mm lens, also known as the 3.5 Rolleiflex MX-EVS type 1, made some time in the early 1950s. Not the best or the most sought-after model, but probably very similar to the one I owned the first time round.
FOOTNOTE: Of course this is not intended to replace the stable of Nikons that I use for my professional work. But I think I will learn from the discipline of using a very simple camera on which not much can be changed and which requires me to work very slowly and carefully.
As the hunting season in Spain ends, please spare a prayer for the poor galgos who will be abandoned, disposed of, or killed because they are no longer wanted.
My beautiful hounds Jasmine and Lindy and my foster lurcher Fawn are joining hounds all over the world today in showing solidarity with their Spanish cousins, and hoping that some unwanted galgos at least will find their way to rescues and to a kinder future.