Following John Constable’s intensive study of cloud formations, many filmmakers have explored ways of capturing the dramatic interplay of landscape and weather. 

Films showing in this section: 

11.34 - Chris Welsby Seven Days 1974
11.55 - Anon (Bamforth & Co. Ltd.) Rough Sea 1900
11.56 - Chris Welsby Park Film 1972
12.04 - Emily Richardson Redshift 2001

Chris Welsby Seven Days 1974

18 minutes. Collection: Lux 

Chris Welsby documents seven days of weather and landscape on Mount Carningly in Wales. Exposing one frame of film every ten seconds from sunrise to sunset, the camera follows the sun’s position in the sky, or its own shadow on the ground. Sound is sampled every two hours. ‘Technology is both a subdivision of ‘nature’ and an extension of ‘mind’ …the camera, as a product of technology, can be seen as a potential interface between ‘mind’ and ‘nature’.’ Chris Welsby 1980 


Chris Welsby was born in 1948. He studied at Central School of Art, Chelsea School of Art and the Slade School of Art, London. Welsby’s art has consistently been concerned with landscape - not the static scene, but the fluctuating patterns of movement and light resulting from the Earth’s rotation and the pull of the Moon - and the equivalents in daily life caused by human traffic. His filming - taking hours or months - follows rules and systems imposed to make his subjects visible. Welsby now lives and works in Vancouver, making installations and single screen works. 

Anon (Bamforth & Co. Ltd.) Rough Sea 1900

1 minutes. Collection: BFI National Film & Television Archive 

One of the smaller early producers of films, Bamforth & Co was a Yorkshire-based company run by James Bamforth which had previously sold lantern slides and picture postcards. Rough Sea is one of several film variants of a view which also frequently featured in postcards. The added fascination for the first audiences for moving pictures was the detailed, endlessly varied movement of the waves. 


Bamforth & Co Ltd was Yorkshire-based company which made and sold lantern slides and postcards, expanding into filmmaking in the late 1890s. 

Chris Welsby Park Film 1972

7 minutes. Collection: Lux 

Chris Welsby’s study of the interaction of people and landscape focuses on a path in Kensington Gardens, London. ‘About a third of the composition is taken up by sky. Many people pass through this picture space both on and off the pathway. One frame is to be taken each time a person … passes into the picture and again when they pass out. Filming is to commence before first light and end after dark.’ Artist’s notes 1973. 


See above. 

Emily Richardson Redshift 2001

4 minutes. Collection: Lux 

The patterns of activity recorded in Emily Richardson’s seascape include those of the night sky, achieved thanks to the low-light sensitivity of modern film-stocks. 


Emily Richardson was born in 1971. She studied at Middlesex University, London and San Francisco Art Institute. She lives and works in London.