We were on our way home from Provence, driving along deserted minor roads through the gentle hills north of Dijon, when the urge to photograph something railway came upon me. As luck would have it, thwarting was not on the menu that evening and I was able to stop and prance around this derelict station for a few minutes.The gare at Pavillon Les Grancey last echoed to the sound of passengers in 1969 and I would imagine that, by then, as the motor car swept all before it, there were precious few of them. Just a soupcon of bonjours, au revoirs and je vous remercie's to sweeten a placid day.
It was the lighting within the booking hall that attracted me, along with the old posters and the pastel green colour scheme.
When I started to light drama productions, I was keen to avoid the stereotyped 'sun through window' scenario. You see it all the time, in film and on television. However it's an easy option if you want to add a bit of structure and definition to a flat surface. It can also take your eye away from the dodgy set decoration and construction. Unfortunately, as we all know, the sun doesn't shine all the time, nor is it always conveniently placed so as to cast a shadow on an upstage wall.
Sometimes lighting designers and cameramen are so keen on this device that they arrange for the sun to come from several directions at once - I saw a film once where a man walked through the front door of a house with the sun streaming in behind him (very dramatic, very Ridley Scott) and walked out the back door with the sun hitting him in the face (very naff, very Neighbours).
I can't say I've avoided the trap over the years but I do try - honest.















