Spherical Panoramas allow the viewer to look in any direction, as if one were standing in the center of a sphere. The Spherical Panorama does away with the photographer's single framed point of view. You are free to explore every angle and to inspect any detail of the image by zooming in and around the total sphere.
You can also view these images within Google Earth or at 360Cities see the links at the bottom of this page.
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If you would like to know more about the methods used to create these images then the following sites will guide you PanoTools
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The equipment used for photography is described here.
To view the panoramas click the thumbnail images below.
Tim Lees 1988. Lees used local stone to create a sculpture which echoes the shaft of the drift mine on which it nestles. The fish-like shape alludes to the geographic location of the forest, sited as it is between the two rivers of the Wye and the Severn.
Searcher
Sophie Ryder 1988. Look out for this life-size creature in the distance. Constructed from wire, it seems to have been startled by your arrival.
Raw
Neville Gabie 2001. An entire oak tree, planted in 1800's to provide timber for warships, and felled to reveal a glade in the woodland, exposing the floor to the sky. The entire tree is reconstituted as a sculpture, constructed of cubes of timber, using as much of the tree as possible. Mass reformed.
Place
Magdalena Jetelova 1986. You will first glimpse this gigantic chair as you leave Beechenhurst to walk the trail. An iconic work, its strength is as much concerned with its position overlooking the landscape as it is to its formal structure.
Observatory
Bruce Allan 1988. A staircase to transport you up into the canopy of the trees and observe the pond below and the surrounding woodland. With a secret space under the stairs to escape to; to sit down in and wonder about the world.
Obsevatory
Bruce Allan 1988. A staircase to transport you up into the canopy of the trees and observe the pond below and the surrounding woodland. With a secret space under the stairs to escape to; to sit down in and wonder about the world.
Melissa's Swing
Peter Appleton 1986. An engaging work which plays on the familiarity of hanging swings from trees, adding a further dimension by vreating a sound as you swing and look up into the canopy.
Iron Road
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
Iron Road
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
Iron Road
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
Clear Circle Define Border
This enigmatic statement is to be found on the quarried stone close to In Situ. No information can be found about the artist or reference to the words.
In Situ
Erika Tan 2004. A strange landscape to encounter in this English woodland - bamboo grows, both real and simulated. Mounds and hollows rise and fall, circles are traced in the earth, echoing the earthworks of the industrial past.
House
Miles Davies 1988. A tall house, as tall as the trees that surround it - reaching high above the forest floor - yet reminiscent of the mineshafts that probe deep down into the ground below. The forest as a home.
Hanging Fire
Cornelia Parker 1986. Locally smelted iron ore has been formed into rings of flames high in the trees, impossibly lapping up the trees withour charring. A poetic work that implies the crowing of the trees in this once royal forest.
Grove of Silence
Ian Hamilton Finlay 1986. These tree plaques draw attention to the silence in the forest - the same experience in any language. In their simplicity of form and statment, they help us pause for thought and become aware of our need to sometimes be still.
Fire and Water Boats
David Nash 1986. These charred boats resemble life-size canoes hewn from a piece of wood by hand. Nestled next to an industrial waterway previously used to drain the mines, one wonders who brought them here, and where are they now ?
Fire and Water Boats
David Nash 1986. These charred boats resemble life-size canoes hewn from a piece of wood by hand. Nestled next to an industrial waterway previously used to drain the mines, one wonders who brought them here, and where are they now ?
Echo
Annie Cattrell 2008. Cast from the face of the quarry in which it resides, Echo provides a snapshot in time, the fragile rocks captured in a moment and preserved in monochrome, drawing attention to surface detail and texture. Is it geology performing as sculpture, or vice-versa?
Echo
Annie Cattrell 2008. Cast from the face of the quarry in which it resides, Echo provides a snapshot in time, the fragile rocks captured in a moment and preserved in monochrome, drawing attention to surface detail and texture. Is it geology performing as sculpture, or vice-versa?
Dead Wood - Bois Mort
Carole Drake 1995. Places of burial and concealment are suggested by these five steel plates dug into the forest floor below a regiment of larches. Look closely - you can pick out the faint traces of memories of woodlands devastated by wars. Aplace to contemplate the carnage of war.
Cone and Vessel
Peter Randall-Page 1988. Carved in stone and scaled up to a fantasy size, the patterns found on the fir cone and the acorn cup are brought to attention. Scientific patterns and cultral traces are revealed.
Cathedral
Kevin Atherton 1986. As you walk along the avenue of trees approaching 'Cathedral' you are reminded of the aisle in a cathedral and the experience of awe that such gigantic architecture evokes. But instead of religous imagery, you see the life of the forest in brightly coloured glass.
Cathedral
Kevin Atherton 1986. As you walk along the avenue of trees approaching 'Cathedral' you are reminded of the aisle in a cathedral and the experience of awe that such gigantic architecture evokes. But instead of religous imagery, you see the life of the forest in brightly coloured glass.
Black Dome
David Nash 1986, Originally a dome made by packing together 900 pieces of charred larch, inspired by old charcoal hearths, this work is returning to the forest floor. Some of the timber appears to have petrified, compressed by the many feet that have climbed over it.
Tim Lees 1988. Lees used local stone to create a sculpture which echoes the shaft of the drift mine on which it nestles. The fish-like shape alludes to the geographic location of the forest, sited as it is between the two rivers of the Wye and the Severn.
Sophie Ryder 1988. Look out for this life-size creature in the distance. Constructed from wire, it seems to have been startled by your arrival.
Neville Gabie 2001. An entire oak tree, planted in 1800's to provide timber for warships, and felled to reveal a glade in the woodland, exposing the floor to the sky. The entire tree is reconstituted as a sculpture, constructed of cubes of timber, using as much of the tree as possible. Mass reformed.
Magdalena Jetelova 1986. You will first glimpse this gigantic chair as you leave Beechenhurst to walk the trail. An iconic work, its strength is as much concerned with its position overlooking the landscape as it is to its formal structure.
Bruce Allan 1988. A staircase to transport you up into the canopy of the trees and observe the pond below and the surrounding woodland. With a secret space under the stairs to escape to; to sit down in and wonder about the world.
Bruce Allan 1988. A staircase to transport you up into the canopy of the trees and observe the pond below and the surrounding woodland. With a secret space under the stairs to escape to; to sit down in and wonder about the world.
Peter Appleton 1986. An engaging work which plays on the familiarity of hanging swings from trees, adding a further dimension by vreating a sound as you swing and look up into the canopy.
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
Keir Smith 1986. Twenty carved jarrah wood railway sleepers remind us of the train line that used to run through the forest carrying coal and iron. Each sleeper illustrates an aspect of the forest, from smelting to writing, charcoal to hunting.
This enigmatic statement is to be found on the quarried stone close to In Situ. No information can be found about the artist or reference to the words.
Erika Tan 2004. A strange landscape to encounter in this English woodland - bamboo grows, both real and simulated. Mounds and hollows rise and fall, circles are traced in the earth, echoing the earthworks of the industrial past.
Miles Davies 1988. A tall house, as tall as the trees that surround it - reaching high above the forest floor - yet reminiscent of the mineshafts that probe deep down into the ground below. The forest as a home.
Cornelia Parker 1986. Locally smelted iron ore has been formed into rings of flames high in the trees, impossibly lapping up the trees withour charring. A poetic work that implies the crowing of the trees in this once royal forest.
Ian Hamilton Finlay 1986. These tree plaques draw attention to the silence in the forest - the same experience in any language. In their simplicity of form and statment, they help us pause for thought and become aware of our need to sometimes be still.
David Nash 1986. These charred boats resemble life-size canoes hewn from a piece of wood by hand. Nestled next to an industrial waterway previously used to drain the mines, one wonders who brought them here, and where are they now ?
David Nash 1986. These charred boats resemble life-size canoes hewn from a piece of wood by hand. Nestled next to an industrial waterway previously used to drain the mines, one wonders who brought them here, and where are they now ?
Annie Cattrell 2008. Cast from the face of the quarry in which it resides, Echo provides a snapshot in time, the fragile rocks captured in a moment and preserved in monochrome, drawing attention to surface detail and texture. Is it geology performing as sculpture, or vice-versa?
Annie Cattrell 2008. Cast from the face of the quarry in which it resides, Echo provides a snapshot in time, the fragile rocks captured in a moment and preserved in monochrome, drawing attention to surface detail and texture. Is it geology performing as sculpture, or vice-versa?
Carole Drake 1995. Places of burial and concealment are suggested by these five steel plates dug into the forest floor below a regiment of larches. Look closely - you can pick out the faint traces of memories of woodlands devastated by wars. Aplace to contemplate the carnage of war.
Peter Randall-Page 1988. Carved in stone and scaled up to a fantasy size, the patterns found on the fir cone and the acorn cup are brought to attention. Scientific patterns and cultral traces are revealed.
Kevin Atherton 1986. As you walk along the avenue of trees approaching 'Cathedral' you are reminded of the aisle in a cathedral and the experience of awe that such gigantic architecture evokes. But instead of religous imagery, you see the life of the forest in brightly coloured glass.
Kevin Atherton 1986. As you walk along the avenue of trees approaching 'Cathedral' you are reminded of the aisle in a cathedral and the experience of awe that such gigantic architecture evokes. But instead of religous imagery, you see the life of the forest in brightly coloured glass.
David Nash 1986, Originally a dome made by packing together 900 pieces of charred larch, inspired by old charcoal hearths, this work is returning to the forest floor. Some of the timber appears to have petrified, compressed by the many feet that have climbed over it.
