Between the dark shapes of two houses a flagtone lane leads down to the sea. The narrow opening reveals shore shed's uneven roof and there in the sea a yole, its sail a narrow triangle.

It has to do with space

image: Gunnie Moberg. This favoured close in Stromness features in several of Gunnie’s photographs of the town.

Simplicity can be a complicated thing to convey. Gunnie Moberg strived for simplicity, it was the standard she set herself.

In an interview with Pam Beasant in 2004 for Northwords Gunnie said:

I always tried to take pictures that were simple and clean. From the air you lose one dimension, but in the landscape you always have three and that clutters up my pictures sometimes – it’s very hard to get that clean line…. It has to do with space..

Continuing a friendship with the Orkney Camera Club we set them a challenge – to communicate simplicity. The brief was entirely open, the only limitation was a maximum of three submissions per photographer. No selections were made, every image is part of the show.

The results are shared with you in this online exhibition. Congratulations Orkney Camera Club!

Exhibiting photographers
(in alphabetical order): Fraser Dixon; Sydney Gauld; Steve Henderson; Adele Lidderdale; Anna Lidderdale; Karen Miller; Tom Nimmo; James Stead; Carly Tait & Tim Wright

Lines of cut crops converge towards the middle of the image where heaps of grasses lie ready to be baled.

FRASER DIXON Field Geometry

Glass blocks arranged gridlike  or are they iceubes, they stack watery and seagreen.


A wrought iron rail, backlit in a warm glow, flourishes with detail


A decorated stone wall dominates the foreground and curves off to the left, the stong black shadow clings to it in this black & white photograph.


An iron nail head sits hexagonal in the textured surface of a door or maybe a gate. The image is composed of three elements, the texture, the hexagonal black shape and the black line of shadow between two planks. This image is almost monochrome, haunted only by a faint echo of paint flecks.


Gas bottles line against a house, they have been almost lovingly arranged, red big gas bottles bookend a line of small blue ones.

STEVE HENDERSON Form an orderly queue


STEVE HENDERSON Gannets, Noup Head

Shapinsay in the Mist Steve Henderson

STEVE HENDERSON Shapinsay in the mist

A street light glows red against the deepest of midnight blue.


In this abstract image it feels like water cascading fast perhaps a waterfall, wet and white at the bottom where the air become so moist that colours appear.


A blue streak glows like buzzing neon in a line that stretches across the image. A fainter red spot glows behind in this composition that seems to demand attention.


The view of cloudlets and blue summer sea with low hills is framed in the look out of a war building, black, hard edged, angled shapes, sun entering the interior leaves a bright shape like a jogsaw piece fitting the shape of the 'window'.

ANNA LIDDERDALE View from a WWII gun battery on Shapinsay

Crowsteps catching the light zig zag across the frame, top right of the photograph a bright yellow green of a field, soft against the hard edges of the blocks.

ANNA LIDDERDALE Buttresses of an old barley store, Ness Farm, Shapinsay, Orkney

Lines cut across this landscape, wonderful angles against a colour palatte of greys and blues.

ANNA LIDDERDALE Salt evaporation ponds in French region of Camargue

A bold yellow weed grows well between the rocks on the shore. The seaweed shoreline curves and the blue sky reflects in the bay.

KAREN MILLER Between the cracks

In a windowsill of slate a geranium is bathed in sunlight. An old mirror has round spectacles perched on top.


A gatepost holding a brick-red gate sit on the left of the image, the photograph however belongs to the spiking grasses growing to the height of the post.

KAREN MILLER The gatepost

Impossibly green strands of seaweed wave gently in shallow clear water over shell rich sand.

TOM NIMMO watery green simplicity

A shorelines of varied textures - slippery to solid - and colours - rusty red to sea glass green - fills the frame.

TOM NIMMO Deerness Shore Simplicity

A dark blue horizon line of distnat hills separates the evening sky of burnt orange and moody blue from the sea , calm and reflecting the sky.

TOM NIMMO Across the bay simplicity

Beach stone segmenst into a grid of frosted flagstone


haybales dot the landscape of uphill fields and deep blue hill behind.


A low hazy sun slowly warms a ripening field.


Moody blue sky of deep dark cloud comes to a sharp navy blue horizon over blue-torquoise waters of Scapa Flow

CARLY TAIT Moody Sky over Scapa Flow

Windblown beach grass scribes a repeated pattern in the sand, a white pebble sits like a gem.

CARLY TAIT Patterns in the sand, Rackwick

Sopring buds burst from a branch, its opposing arms fill the frame.

CARLY TAIT Spring buds

A red marker stands in the sea, on top of it a gull sits, the marker is also a flagpole flying the Saltire.

TIM WRIGHT Going down or coming up

Pale blue hills and a pastel sky, darker land below.

TIM WRIGHT Sugar Mountain

White frothed water swirls in a stream creating a feathered texture as it navigates a stone.


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2 thoughts on “It has to do with space

  1. Very impressed by the prints on show. Though it’s not right to pick out any one I know, but for me Sidney Gauld’s stone wall was the one which stopped me for the longest time of all. Congratulations to all the photographers who put their work forward,

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