Own notes from tutorial

I have compiled a list of the main points from my tutorial. I am going to make amends going forwards and will not retrospectively change my blog. I want to do it this way as I want to demonstrate and evidence my learning.

  • assignment due 12th May
  • tutorial planned for 24th May at 2030
  • images were received in a well wrapped package and printed to a good standard
  • my images were meant to be viewed as pairs – send them in that order i.e. the order they are to be seen
  • experiment with printing. May be a pair side by side on a panorama (OK to fold but explain to you why they are folded)
  • label my prints on the reverse
  • my prints were consistent which is good, maintain consistency of prints
  • project 3 on my blog was too lengthy. Highlight one/two images and then reduce size as assessors will not have time to scroll down a series of large images
  • try and remove “OLDER POST” tick box from blog if possible (not yet found a solution)
  • on my blog under my assignment heading use “sub titles e.g. assignment planning, submission, research, reflection and rework
  • my learning log duplicates much information. Where practicable eliminate the need for duplication
  • when doing independent research, do not go for quality over quality. Look at more select artists and make comment and written reflection where possible.
  • differentiate between own extended research and course research
  • prioritise what artists I study
  • marry up prints with captions e.g. my industrial set all have the same caption
  • show editing choice e.g. spread of 6×4 images on a table. snapshot this and include in blog
  • show my assessment work for EYV as a post prior to submitting next assignment
  • use OCA forums
  • my prints were acceptable submission

The use of Captions


“Lionel Messi: Net worth: €200 Million ($218 million).”

Image and text taken from Wonderlist (Not known) Top 10 Richest Footballers in the World, Available at: http://www.wonderslist.com/top-10-richest-footballers/ (Accessed: 11/04/2017).


You are so beautiful


Where are your ears?


I demand an answer



Messi gets to keep the match ball after another hat-trick



Why should he be in my picture, I am the best?

The original caption states how much Messi is worth and with the image gives the context to one of the riches footballers.

I have added my own captions, playing on the (false?) assumption that footballers are not the most intellectually challenging people on the planet. Each caption changes the context of the original image. Some offer ambiguity, others offer humour and challenge the original context of the image.

Captions therefore have to be used very carefully in order to work well with an image and add value. A well worded caption can bring added benefit to the image. They can change the meaning of the original image and may potentially detract from what you are wanting to portray/say. They can also offend, as in my captions.

Anchor and Relay both have their place, but the setting, and use of the photograph has to be considered, along with the image’s genre.

Country Doctor compared to The Dad Project

Country Doctor by W. Eugine Smith


  • Black and white
  • Followed one person interacting with people he cared for.
  • Actions were photographed
  • Expression and feeling were captured directly
  • Not much left to the imagination
  • Central character of Dr Ceriani featured in most shots
  • Documentary/reportage style
  • What was in the frame was the story
  • Easy to read
  • Excellent way of reporting what a country doctor in the 1940s did
  • Informative for the public
  • Had acceptance of the photographer
  • Did not have a beginning, middle or end
  • Not chronological
  • Shot over a definite period of time.
  • Informative at the time it was shot
  • Not abstract
  • Dramatic
  • Not beautiful, but factual
  • Each image has context due to the angle it has been shot from i.e. you can see the surgery or the car where an impromptu needle was required.
  • Each image can be a story in its own right
  • Not what I understand as postmodern
  • Cropped
  • Captioned, but factually
  • Educational

The Dad Project by Briony Campbellcampbell.jpeg

Image taken from Campbell, B (Not known) The Dad Project, Available at: http://www.brionycampbell.com/projects/the-dad-project/ (Accessed: 11/04/2017).

  • Colour
  • Includes self portraits
  • Follows one person through to end of life. Has a conclusion of sorts.
  • Feelings were portrayed rather than actions
  • Images such as the empty milk bottle used to portray thought, feeling and emotion, rather than this being shown by a face.
  • The images work very well together and add to the narrative, where as on their own some do not have clear meaning
  • Captioned in a way that portrays the artists feelings
  • Postmodern
  • Not so easily read. You need to think more outside of the frame in reading them and referring back to other images
  • Beautiful, poignant, meaningful and delicate.
  • Had a starting and an end point
  • Is the artist using the camera as a tool to deflect, or collect her grief. Is it a proxy for holding her dad’s brief case that she used when dressing up as her father, when she was a child
  • The series took amazing strength, character and courage to shoot
  • Was abstract at times
  • Inspiring
  • Insightful
  • Personal
  • Not all the images will fall into one genre as in the image above

Chronologically Briny Campbell’s story does has an and, due to the sad death of her dad. However there is no end to how we all react to death, as this is one certainty in life, and the learning process in how we grieve will also carry one. It may be that she sees death as not end, but another part of the human journey and she may believe that she will be reunited with her dad. I also feel that she means her story making, was inspired by this brave project and that she will continue to reach and make inspiring stories. This is evidenced by her other projects on her website such as “Love in Translation”.

Part two Narrative Project 1 Telling a story – research

Post modernism

  • Not all technological progress is beneficial
  • Not just men can be artists, introduced greater diversity
  • The viewer became more important, even in some examples being used as part of the art
  • Removing barriers between “high art” and “low art”
  • Started possibly after 1950s
  • Breaks down genres
  • Challenging beliefs and structures in Western cultures
  • There is no single style/genre that can define postmodernism
  • Born through scepticism and suspicion of thereupon behind art
  • Introduced complex layers of meaning
  • Introduced contradictions into art
  • Can even combine different styles
  • Challenges convention
  • Personal styles and voices were developed, rather than sticking with tradition
  • Has no boundaries
  • Can be offensive
  • Staged images
  • Creates a version of reality but not capturing reality


Examples of postmodern photographers and some of their work; –

Ken Josephson


Image taken from MoMA (2017) Ken Josephson, Available at: https://www.moma.org/collection/works/45859?locale=en (Accessed: 10/04/2017).

Garry Winogrand


Image taken from MoMA (2017) Garry Winogrand, Available at: https://www.moma.org/collection/works/55862?locale=en (Accessed: 10/04/2017).

Lee Friedlanderfriedlander.jpeg

Image taken from American Suburb (2015) Lee Friedlander The American Monument, Available at: http://www.americansuburbx.com/2014/03/lee-friedlander-the-american-monument-1976.html (Accessed: 10/04/2017).

Cindy Sherman


Image taken from MoMA (2017) Cindy Sherman, Available at: https://www.moma.org/collection/works/56618 (Accessed: 10/04/2017).

Richard Prince


Image taken from THE MET (2017) Untitled (cowboy), Available at: http://www.metmuseum.org/toah/works-of-art/2000.272/ (Accessed: 10/04/2017).

Jeff Wall


Image taken from Tate (Not known) A Sudden Gust of Wind (after Hokusai), Available at: http://www.tate.org.uk/art/artworks/wall-a-sudden-gust-of-wind-after-hokusai-t06951http://www.metmuseum.org/toah/works-of-art/2000.272/ (Accessed: 10/04/2017).

Assignment one reflection

This is the first assignment where I have used my own printer. I have printed the images on A4 matt paper and the prints are slightly darker than I would have liked, however they are still of an acceptable quality. I have allowed an equal border round the images so they can be easily handled without the image actually being touched. The size of my prints allows the images to be compared side by side and does give the feeling of the “two sides of the story”, which I have created. I am not sure if I like the matt finish and will use Gloss for my next assignment.

The assignment was planned in advance by searching the internet for the boundaries of S66 and where would give the the two different sides of the story and a complete juxtaposition.

On reflection it may have been more interesting to have more people in the images, however there was no one around in the rural settings and at the industrial estate, I was subject to some unwarranted abuse! I can cope with the verbals, but I did not want my camera damaging.

I am pleased with my final selection of ten images and the choice of keeping them in colour has added to the narrative.

Thinking about being a “thinking photographer” is interesting and something that has crossed my mind before, but this has never been a conscious part of my workflow. It now is.

Part one has given me the opportunity to view many different artists’ work and their styles and this is evidenced by my comprehensive reference list. I have particularly enjoyed looking at the work of Sander, Parr and Paul Seawright’s work. Some of this was familiar and some was not. The number of hours spent on this section has been immense and more than more previous course, Expressing Your Vision.

I have thoroughly enjoyed this part and have learned so much e.g. how captioning can change an image, as in Seawright’s work, how context can affect how we read an image, how to think about the photographer’s (political/personal) perspective in taking the shot etc.

I am looking forward to starting part two.

References for part one

Akash, G (2014) Gmb Akash, Available at: http://www.gmb-akash.com/about.php (Accessed: 28/03/2017).

Artnet (2017) André Lhote (French, 1885–1962), Available at: http://www.artnet.com/artists/andré-lhote/ (Accessed: 05/04/2017).

Artnet Worldwide Corporation (2017) Philip-Lorca diCorcia | art net, Available at: http://www.artnet.com/artists/philip-lorca-dicorcia/ (Accessed: 31/03/2017).

AtgetPhotography.com (Not known) Robert Frank / Biography, Available at: http://www.atgetphotography.com/The-Photographers/Robert-Frank.html (Accessed: 28/03/2017).

AtgetPhtography.com (2014) Helen Levitt / Biography & Images – Atget Photography.com, Available at: http://www.atgetphotography.com/The-Photographers/Helen-Levitt.html (Accessed: 27/03/2017).

Bate, D (2016) ‘Documentary and Storytelling’, in Bate, D (ed.) The Key Concepts Photography. Great Britain: Bloomsbury, pp. 53-79.

Cascone, S (2017) GARRY WINOGRAND, Available at: https://fraenkelgallery.com/artists/garry-winogrand (Accessed: 28/03/2017).

Casper, J (Not known) John Szarkowski Photographs Old and new photographs made by the legendary curator and critic., Available at: https://www.lensculture.com/articles/john-szarkowski-john-szarkowski-photographs (Accessed: 28/03/2017).

Chillee (2009) photo from Omaha, Available at: https://www.flickr.com/photos/chilliee/3463378711 (Accessed: 21/03/2017).

Columbia College Chicago (2017) Museum of Contemporary Photography, Available at: http://www.mocp.org/detail.php?type=related&kv=6860&t=people (Accessed: 31/03/2017).

Dangerfield, M B (2015) Power to the People | Tate, Available at: http://www.tate.org.uk/context-comment/articles/power-to-the-people (Accessed: 21/03/2017).

Dictionary.com (2017) Altrusim | Defintion, Available at: http://www.dictionary.com/browse/altruism?s=t (Accessed: 21/03/2017).

Dictionary.com (2017) Integrity | Defintion, Available at: http://www.dictionary.com/browse/integrity (Accessed: 21/03.2017).

Dictionary.com (2017) Integrity | Defintion, Available at: http://www.dictionary.com/browse/integrity (Accessed: 21/03/2017).

Dictionary.com (2017) Objective | Define Objective at Dictionary.com, Available at: http://www.dictionary.com/browse/objective (Accessed: 21/03/2017).

Dictionary.com (2017) Subjective | Define Objective at Dictionary.com, Available at: http://www.dictionary.com/browse/subjective (Accessed: 21/03/2017).

Eggleston, W (2017) WILLIAM EGGLESTON, Available at: http://www.egglestontrust.com (Accessed: 31/03/2017).

Erwitt, E (2014) Personal Best , Kempen, Belgium: teNeues.

Gilden, B (Not known) Bruce Gilden, Available at: http://www.brucegilden.com (Accessed: 28/03/2017).

Graham, P (2014) Paul Graham Photography Archive, Available at: http://www.paulgrahamarchive.com/index.html (Accessed: 27/03/2017).

Hostetler, L (2017) Street Photography. in Oxford Art Online, Available at: http://www.oxfordartonline.com/public/page/GAO_free_Street_photography (Accessed: 27/03/2017).

Howard Greenberg Gallery (2017) Joel Meyerowitz – Artists, Available at: http://www.howardgreenberg.com/artists/joel-meyerowitz (Accessed: 27/03/2017).

Imperial War Museum (2014) Catalyst: Paul Seawright on Vimeo, Available at: https://vimeo.com/76940827 (Accessed: 31/03/2017).

International Centre of Photography (2017) Jacob Riis | International Centre of Photography, Available at: https://www.icp.org/browse/archive/constituents/jacob-riis?all/all/all/all/0 (Accessed: 22/03/2017).

J. Paul Getty Trust (Not known) Joel Sternfeld – Artists – Luring Augustine, Available at: http://www.luhringaugustine.com/artists/joel-sternfeld/bio (Accessed: 27/03/2017).

Jardin, V (Not known) Valerie Jardin, Available at: http://valeriejardinphotography.com (Accessed: 28/03/2017).

Jeff (2014) Oh, by the way, Available at: http://ohbythewayblog.blogspot.co.uk/2015/10/victorian-ghost-photography.html (Accessed: 30/03/2017).

Kim, E (2017) 12 Lessons Joel Meyerowitz Has Taught Me About Street Photography, Available at: http://erickimphotography.com/blog/2014/01/22/12-lessons-joel-meyerowitz-has-taught-me-about-street-photography/ (Accessed: 27/03/2017).

Kim, E (2017) Erik Kim, Available at: http://erickimphotography.com (Accessed: 28/03/2017).

Lee, G (2014) 19 Delicious Examples of Irony In Photography, Available at: http://www.sickchirpse.com/irony-photographic-form/ (Accessed: 27/03/2017).

Lee, G (2014) Helen Levitt / Biography & Images – Atget Photography.com, Available at: http://www.atgetphotography.com/The-Photographers/Helen-Levitt.html (Accessed: 27/03/2017).

LITERARY TERMS (Not known) Peripeteia, Available at: https://literaryterms.net/peripeteia/ (Accessed: 05/04/2017).

Magnum Photos (2014) Magnum Photos Photographer Portfolio – Elliott Erwitt, Available at: https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL53Z1OG (Accessed: 28/03/2017).

Magnum Photos (2014) Magnum Photos Photographer Profile, Available at: https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL53ZWR0 (Accessed: 23/03/2017).

Magnum Photos (2017) The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams, Available at: https://www.magnumphotos.com/arts-culture/alessandra-sanguinetti-the-adventures-of-guille-and-belinda-and-the-enigmatic-meaning-of-their-dreams/ (Accessed: 31/03/2017).

Meltzer, S (2014) The piercing eye of Brassai: the stunning work of a master French photographer, Available at: http://www.imaging-resource.com/news/2014/01/07/the-piercing-eye-of-brassai-a-brief-history-of-a-master-photographer (Accessed: 22/03/2017).

Merriam-Webster, Incorporated (2017) Truth, Available at: https://www.merriam-webster.com/dictionary/truth (Accessed: 30/03/2017).

Meyerowitz, J (2015) JOEL MEYEROWITZ, Available at: http://www.joelmeyerowitz.com (Accessed: 27/03/2017).

Meyorwitz, J (2015) JOEL MEYEROWITZ, Available at: http://www.joelmeyerowitz.com (Accessed: 27/03/2017).

MoMA (Not known) Mirrors and windows : American photography since 1960 John Szarkowski, Available at: MoMA (Not known) Mirrors andWindows FORIMMEDIATE RELEASE American Photography since 1960, Available at: http://www.moma.org/d/c/press_releases/W1siZiIsIjMyNzE1NCJdXQ.pdf?sha=d8119b413eb7ffaa (Accessed: 28/03/2017). (Accessed: 28/03/2017).

Morgan, K (2004) Matthew Brady, Available at: http://www.mathewbrady.com (Accessed: 22/03/2017).

Open College of the Arts (2012) Decoding adverisements | OCA STUDENT, Available at: http://www.oca-student.com/photography-2-gesture-and-meaning-overview/decoding-advertisements (Accessed: 21/09/2017).

Open Walls Gallery (Not known) Street Photography . From early modernity to street art, Available at: https://openwallsgallery.com/street-art-photography/ (Accessed: 27/03/2017).

Oxford Dictionaries (2017) Citizen Journalism , Available at: https://en.oxforddictionaries.com/definition/citizen_journalism (Accessed: 21/03/2017).

Oxford Dictionaries (2017) Context – defintion, Available at: https://en.oxforddictionaries.com/definition/context21 (Accessed: 21/03/2017).

Oxford Dictionaries (2017) empathy – definition, Available at: https://en.oxforddictionaries.com/definition/empathy (Accessed: 21/03/2017).

Oxford Dictionaries (2017) Narrative – defintion, Available at: https://en.oxforddictionaries.com/definition/narrative (Accessed: 21/03/2017).

Palha, R (Not known) Rui Palha Photography, Available at: http://www.ruipalha.com (Accessed: 28/03/2017).

Parr, M (2015) ‘All ‘, in Parr, M (ed.) Martin Parr. London: Phaidon, pp. All.

Phillips, S, S (2015) Martin Parr, 3rd edn., London : Phaidon.

Pickering, S (2016) Sarah Pickering, Available at: http://www.sarahpickering.co.uk/Works/Pulic-Order/workpg-20.html (Accessed: 31/03/2017).

Ratcliff, C (2003) Cruel and Tender | Tate, Available at: http://www.tate.org.uk/context-comment/cruel-and-tender (Accessed: 31/03/2017).

Ritchin, F (2014) Syrian Torture Archive : When photographs of atrocities don’t shock | Time.com, Available at: http://time.com/3426427/syrian-torture-archive-when-photographs-of-atrocities-dont-shock/ (Accessed: 21/03/2017).

Robert Klein Gallery (2017) Triplets in Their Bedroom, 1963, Available at: https://www.artsy.net/artwork/diane-arbus-triplets-in-their-bedroom (Accessed: 28/03/2017).

Rosler, M (2014) In Around and Afterthoughts (on documentary photography), Available at: http://everydayarchive.org/awt/wp-content/uploads/2014/01/rosler-martha_in-around-afterthoughts.pdf (Accessed: 21/03/2017).

Schmid, J (2017) Joachim Schmid, Available at: https://schmid.wordpress.com (Accessed: 21/09/2017).

Science Museum (2008) Henry Mayhew 1812-87, Available at: http://www.sciencemuseum.org.uk/broughttolife/people/henrymayhew (Accessed: 22/03/2017).

Seawright, P (Not known) Sectarian Murder — Paul Seawright, Available at: http://www.paulseawright.com/sectarian/ (Accessed: 31/03/2017).

Tate (2008) Street & Studio | Exhibition at Tate Modern | Tate, Available at: http://www.tate.org.uk/whats-on/tate-modern/exhibition/street-studio (Accessed: 31/03/2017).

Taylor, A (2016) Winners of the 2016 World Press Photo Contest, Available at: https://www.theatlantic.com/photo/2016/02/winners-of-the-2016-world-press-photo-contest/463431/ (Accessed: 21/03/2017).

The J. Paul Getty Museum (Not known) Lewis W. Hine | Getty Museum, Available at: http://www.getty.edu/art/collection/artists/1566/lewis-w-hine-american-1874-1940/ (Accessed: 23/03/2017).

The J. Paul Getty Museum (Not known) Walker Evans, Available at: http://www.getty.edu/art/collection/artists/1599/walker-evans-american-1903-1975/ (Accessed: 05/04/2017).

The Street Collective (Not known) Vineet Vohra – The Street Collective, Available at: http://www.thestreetcollective.com/vineet-vohra/ (Accessed: 28/03/2017).

The Sun (2017) SHE WAS HORRIFIED, Available at: https://www.thesun.co.uk/news/3168904/london-terror-attack-photo-muslim-woman-trolled-truth/ (Accessed: 30/03/2017).

Unknown (2017) August Sander | The life, history and work of August Sander, Available at: http://augustsander.com (Accessed: 31/03/2017).

Vesprini, G (2016) Giacomo Vesprini’s Beautifully Surreal Street Photography, Available at: https://www.vice.com/en_us/article/giacomo-vesprini-surreal-street-photography (Accessed: 27/03/2017).

Vintage Everyday (2012) vintage everyday , Available at: http://www.vintag.es/2012/09/life-through-kurt-huttons-cameras-lens.html (Accessed: 23/03/2017).

Part 1 research continued ….

Walker Evans

“Walker Evans began to photograph in the late 1920s, making snapshots during a European trip. Upon his return to New York, he published his first images in 1930. During the Great Depression, Evans began to photograph for the Resettlement Administration, later known as the Farm Security Administration (FSA), documenting workers and architecture in the Southeastern states. In 1936 he traveled with the writer James Agee to illustrate an article on tenant farm families for Fortune magazine; the book Let Us Now Praise Famous Men came out of this collaboration.

Throughout his career Evans contributed photographs to numerous publications, including three devoted solely to his work. In 1965 he left Fortune, where he had been a staff photographer for twenty years, to become a professor of photography and graphic design at Yale University. He remained in the position until 1974, a year before his death.”


Image and text taken from The J. Paul Getty Museum (Not known) Walker Evans, Available at: http://www.getty.edu/art/collection/artists/1599/walker-evans-american-1903-1975/(Accessed: 05/04/2017).

Andre Lhote

André Lhote was a French Cubist painter, art critic, and teacher. He was born on July 5, 1885 in Bordeaux, France and studied at the École des Beaux-Arts, initially influenced by the post-Impressionistic works of Paul Gauguin and Paul Cézanne. Lhote later fell into the influential Parisian Cubist Group known as the Section d’Or, which included Marcel Duchamp, Jean Metzinger, and the poet Guillaume Apollinaire. His major works during this period include Cordes (1912) and Le Porte of Bordeaux(1914), paintings that combined the aesthetics of Cubism’s angularity with the bright palette of post-Impressionism. After serving in the French army during World War I, Lhote began contributing articles to the Nouvelle Revue Française and founded his own painting school, instructing artists such as Henri Cartier-Bresson and Margaret LaFranc. He was awarded the Grand Prix National de Peinture in 1955, and in 1957, Musée d’Art Moderne in Paris hosted a solo exhibition of his work. He died on January 24, 1962 in Paris, France.”


Image and text taken from artnet (2017) André Lhote (French, 1885–1962), Available at: http://www.artnet.com/artists/andré-lhote/ (Accessed: 05/04/2017).


“Peripeteia is a sudden change in a story which results in a negative reversal of circumstances. Peripeteia is also known as the turning point, the place in which the tragic protagonist’s fortune changes from good to bad. This literary device is meant to surprise the audience, but is also meant to follow as a result of a character’s previous actions or mistakes. According to Aristotle, peripeteia is the single most important and powerful element of plot in a tragedy. Peripeteia is meant to cause fear and pity in the audience upon witnessing the tragic twist of fate which abruptly ruins the life of the protagonist. Peripeteia provides a point of shock and dismay in a complex plot, often ironically weaving previous actions with their present effects. Peripeteia provides the tragic plot with surprise and emotional complexity.”

Text taken from LITERARY TERMS (Not known) Peripeteia, Available at: https://literaryterms.net/peripeteia/ (Accessed: 05/04/2017).

Assignment one

Two sides of the story


First side of the story – Rural S66

New growth
Failed corn just outside Thurcoft
New shoots near Hellaby
Braithwell farm
Braithwell farm and some local housing

Second side of the story – Industrial S66

Hellaby Industrial Estate
Hellaby Industrial Estate
Hellaby Industrial Estate
Hellaby Industrial Estate
Hellaby Industrial Estate

I have gained my inspiration for this project predominantly from two sources. Firstly, a book written by Julian Baggini, entitled “Everytown” and secondly my first assignment from my Expressing Your Vision course,  entitled “The Square Mile”. I will now provide the context to the above narrative of my ten images.

My home is in Rotherham and my postcode is S66 1WG. This very postcode was used by Baggini, a philosopher and author, for the basis of his afore-mentioned book. S66 1WG, is geographically and demographically,  the middle of Britain. So Baggini set out to enjoy and explore life living in my area, which he did for six months. His aim was to establish what it is like to live in an average town in Britain (what it is to be typically British) and compare and contrast his new home, to his usual and familiar life, of living in Bristol. The Square Mile exercise also made me think about what is on my door step and how this can be photographed and explored.

The Square Mile theme has been expanded upon to cover S66, which is really the Hellaby ward for electoral purposes and is much wider than one square mile.  In S66 there are a number of contrasts, rich/poor, elderly/young, dead/alive (due to a number of local cemeteries), black/white, male/female, schools/public houses, industrial areas/country side, people/empty spaces etc.

Photographing in an around my town attracts some interesting comments from its’ people, mainly abusive, but some inquisitive. Rotherham’s background is somewhat tainted by a number of issues and distrust from the general public, recently centring on the child abuse scandal, for which it has gained national notoriety, On this shoot, I have been sworn at, spat at from a lorry and stopped and asked what I was doing by a farmer’s wife.

I have decided to present just two sides of S66, Rural and Industrial. There are five photographs in each set. The story behind each set is intended as a juxtaposition to the other, one set documenting wide open green spaces, the other being closed down by steel fencing and a general feeling of industry. Which is the real S66?

I have kept the images in colour, with very little adjustment post production, other than the odd slight crop and a tweak of the shadows. Both series were shot on the same day and not in the order as they appear my final selects. Some of the selects are out of chronological order as I feel they work better that way. I believe the images work as two distinct sets of five images, and I also feel that each image contains its’ own narrative.

The reasons for the sequencing is as follows ; –

  • I have viewed the set as contrasting pairs
    • Pair 1 Both images contain strong lines. Rural has a strong leading line, leading the viewer into the field to the church in the distance, where as industrial one has vertical lines applying a prison like feeling inshore contrast to the rural image.
    • Pair 2 Both images contain strong verticals and a similar amount of spring blue sky. However the signs that can be read in both images are very different.
    • Pair 3 Green is the predominant colour of both images. Green of the grass against the green of the disused tug and the green weeds which are over growing it.
    • Pair 4 Both images are filled with blue and green. One contains rural machinery in a rural setting were as the other has industrial machines in an industrial setting.
    • Pair 5 Both images contain some sort of storage. The hay bails in the rural image and the chemical/refuse storage in the industrial setting. The rural image is showing a wide open view, where as the industrial image is framed by the factories fence. Note that both images do contain some sort of fencing/walls but there is a distinct difference in the way both work and are photographed. The rural image has nearly all of it in focus, compared to the industrial one, which only has a portion of the fence in focus, making you search the image for what it contains.

My contact sheets are in chronological order and my final edit was chosen after much reflection on which images to choose.

Having recently read a book on the work Martin Parr, I feel that there has been some influence from his later (colour) style and may be from the work of William Eggleston.

The images were shot from a different variety of angles and heights. All images were taken with a Nikon D750 and a 24-70 f2.8 Tamron lens. No filters were used and all images were handheld.

Contact Sheets

Contact sheets-1Contact sheets-2Contact sheets-3Contact sheets-4