Assignment 5: Winter Blues

Those familiar with this blog will recognise that some considerable time has elapsed since my last entry. I’ll be upfront and tell you this was down to a bout of ‘winter blues’. I entered Part 5 of FiP around the end of 2017 and with the falling of the mercury and the shortening of the days my energy and enthusiasm ebbed away. And to be fair there was lot to ebb away: the feedback I received from my tutor for Assignment 4 was really positive and constructive and I bounced out of Part 4 on quite a high. I was beginning to see how FiP was helping to develop me as someone who expressed their creativity through photography. I would never have said that of myself at the beginning of this journey.

But I can’t help but feel I’m hiding behind the label ‘winter blues’. Yeah, I like a lots of others get a bit down-in-the-dumps in the colder months but last winter was a bit different. Readers of this blog will know that the last couple of years have been difficult, with my partner having had treatment for cancer. But thankfully, the treatment has been successful and last December, a year after her operation, she was told it hadn’t returned. Naturally, there was ‘whoops and shrieks’, and ‘high fives’ all around and it meant we could start living our lives again. And while it was immensely positive news to hear, looking back, I have to acknowledge the whole experience had left me somewhat washed-up and washed-out.

So, that was my mindset at the start of FiP Part 5. I did consider turning the camera on myself for this final assignment, the beauty of which, allows the students to chose their own topic. Not unrelated to the stresses and strains of recent months I had started to gain weight. My keenness for cycling had diminished to about zero and I now had a wardrobe filled with clothes that didn’t fit anymore. The grand plan was start 2018 with a new zeal: eat less, drink less, get back on the bike and burn some calories; after all it worked before. But no, in my state of mind this wasn’t going to happen.

I did try to photograph this, what amounted to a New Year’s resolution for the Assignment 5, and while avoiding the obvious self-portrait approach I found it just too intimate. I suppose I was recording a personal failure and it wasn’t something I wanted to share with the world. Hats off to artists like Jo Spence who could do just this sort of work but at the time, it wasn’t for me.

Throughout the ups and downs of the last couple of years I’ve never really stopped taking photographs. Even when the motivation was too low to press on with my studies I still carried my camera with me. It’s mentioned in more depth elsewhere in this blog but I have become interested in trees. And there is one tree in particular that I keep returning to. I suppose it has become something of a muse but I keep visiting it and photographing it from different positions and in different light throughout the calendar. It’s an old lime tree that clings on to existence despite its broken boughs and dead branches. It looks like it’s lived a life and feels quite allegorical for the journey my life has taken of late.

In mid January (2018) I called by the tree to take some images in the morning light. This wasn’t FiP photography, it was my own on-going work. For FiP I was still trying to get my head around the ‘autobiographical’ dieting theme. I took a few shots, for some reason the auto focus wasn’t behaving itself and so I switched to manual, I took some more and then moved closer to the tree. I lifted the camera to my eye and there in the viewfinder I found a solution to my Assignment 5 problem.


FiP Ass 5 0011


FiP Ass 5 0016


FiP Ass 5 0012


FiP Ass 5 0013


FiP Ass 5 0014

Winter Blues


I wasn’t looking for a solution to my photographer’s block and perhaps that’s why it was all more surprising when it revealed itself. But looking at the out of focus branches in the viewfinder had a resonance with my mental health at the time.  I certainly had some of the NHS website’s symptoms of ‘winter blues’ (lethargy, tiredness, reduced enthusiasm) and the images I went on to make connect with how I felt at the time. I took take several out of focus photos, often recording varying degrees of out of focus for the same image. Over the coming days I returned to the tree and explored this theme several times.

This exploration continued in postproduction. I’m not one for extremes of manipulation but I have explored enhancing the vignetting in some of the images. The most time consuming of all was the idea of producing the images in a square format. I felt this somehow connected with the difficulty in decision-making I had been experiencing with my photography. The square format being neither up nor down, landscape or portrait seems to echo this state of mind. However, while I still like the concept, the square image series did not work as well as the one made in landscape format. The latter reflected my state of mine better than the square format.

Well, there it is, Assignment 5 completed. I’ve attached the contact prints for both the square and landscape versions to allow others to compare, and constructive feedback is always welcome. I consider it an exploration of my mental state at the beginning of 2018 as described above. And in case anyone is left wondering, I’m now feeling a lot better and getting back to my old self – I’m even back on my bike!

Contact Sheets: Landscape Ass 5 v1 –

Contact Sheets: Square Ass 5 v2 –





Assignment 4: Responding to a Theme

For this Assignment I had to create an assembeled photograph for a given theme. Though it was possible to create one’s own theme, I chose ‘Power Struggle’ from the options in the FiP Workbook.

My interpretation of ‘power’ is electricity, particularly nuclear generation that occurs on the Suffolk coast. We have two nuclear plants sitting next to each other: one is being decommissioned, the other coming to the end of its life and then there are plans to build a third – Sizewell C.

Being anti nuclear by inclination it might seem my thoughts would be clear and concise. But it’s complicated. While I could bring up arguments about the risks to human life and the environment and even point out connections between nuclear power and the nuclear weapons, there are more prosaic and pragmatic factors involved.

UK governments are not very good at thinking in the long term and so for years overlooked the fact that many of our nuclear plants were coming to the end of their working lives. While renewable energy, particularly wind and solar, have had seen an increase, this has occurred because of a move away from coal powered plants. Being ‘carbon lite’ nuclear is often categorised with renewable but the dangerous radioactive legacy of nuclear will be with us for centuries. So, it seems our governments have painted themselves, and us, into a corner where we are still dependent on nuclear in order to keep the lights on!

The Suffolk context adds further layers of complexity. The Suffolk coast is an empty rural location. While some jobs exist in agriculture and tourism the area needs good, well paid jobs. The power stations have provided this for many years and the building of a third will continue that tradition. So, very often the visible objections to the furtherance of nuclear power centre around the congestion and inconvenience the current plans for construction will cause. This of course seems like ‘Nimbyism’ and it may well be, for plenty of folk who live in the picturesque coastal villages have retired there or are weekenders visiting their second homes.

The final issue I’d like to bring up is a real paradox. The Suffolk coast is famed for its understated beauty. So much so it is actually designated as an Area of Outstanding Natural Beauty. The range of different and endangered habitats is quite remarkable: heathlands, acid grasslands, and wetlands with some of the largest reed beds in the country. These in turn are the homes to a variety of scarce and declining species, be they birds, insects or mammals. Both NGOs and local authorities do a lot to protect and enhance these places, yet it seems OK to build nuclear power stations in the midst of them all.

Here is my assembled photograph:


Ass 4 Power Struggle


The Photographs

I chose to represent them in a patchwork (similar to Exercise 4.4). All sitting together in this way with no ‘breathing space’ between them reflects my somewhat pragmatic position on nuclear power. The placing of the individual images is less concerned with what they might have to say but how they look as a group. The key exceptions being the top left and bottom right.

Left to Right – Top to Bottom.


  1. I found this dead adult Herring Gull under a set of power lines when shooting for Ex. 4.11. Almost certainly it collided with the cables. This bird of a boisterous, larger than life species, a survivor into adulthood (4+ years) had its struggle for life terminated by the power lines. Finding it in this way cemented my ideas for this assignment.


  1. The need for electricity – we need to keep the lights on.


  1. Sizewell A. No longer generating. A huge monolith, it looks like a tombstone.


  1. Solar farm near the A12. Locked in some sort of struggle of its own perhaps, it needs CCTV surveillance. Note the ubiquitous pylons in the background.


  1. Those who will build Sizewell C had a consultation road show but it felt more like we were being told rather than listened too.


  1. The local villagers kick back. They don’t want a campus for over 1000 construction workers built in their neighbourhood.


  1. A Bittern: an example and symbolic of both the sensitive habitats and the species that live in them.


  1. The famous East Anglian large skies dissected by the power lines in this part of Suffolk


  1. Wind power: an alternative to nuclear. Again, note the power lines…


  1. Brought up in the Cold War, images of the potential of nuclear weapons are lodged in my memory. These wind blown grasses in the dunes at Sizewell are allegorical of the results of nuclear warfare.


  1. The village of Theberton will see over 1000 lorries per day drive through it during the construction of Sizewell C. Construction will take 10 years. This image also implies that’s all they are thinking about right now…


  1. These power stations are part of the national infrastructure. They are secure places aiming to keep out the public, environmental protesters and terrorists


  1. This bleached out human character on a barn door in Eastbridge, where the builders’ campus will be located, suggested to me that the views and opposition of local people will matter not, compared to those of the multi-nationals who are looking to profit from the new power plant.


  1. This is where the radioactive waste from Sizewell A was transferred to special trains. This could be used to bring materials and people to the new construction site. Local objectors feel this would be better than using lorries.


  1. These pylons dominate the landscape and literally tower over every one and every thing they pass. They seem symbolic of a powerful State that will disregard the local over national needs.


  1. So far the sea is an under exploited resource of power generation.


Contact Sheet for Assignment 4 

CS Assignment 4





Preparation for Assignment 4

So far in FiP I’ve approached the work in a very linear manner. I opened the workbook, started at page 1 and worked my through. I did the Exercises in numerical order and completed the Assignments at the end of each chapter. For FiP I suppose there is nothing wrong with that, after all it is designed to be a developmental programme and so each stage follows on from the last.

But now I’m thinking seriously about moving on to the BA course where the Assignments have a greater significance than here. I suppose, in the degree it would be possible to fail an assignment or be given a lower mark that might influence the final outcome. Hence for Part 4 and picking up from a comment by my tutor made, I’ve adapted a slightly different approach this time.

Throughout Part 4 I have been fully aware of the Assignment. As I progressed through the Exercises I’ve been considering how I might approach the final Assignment and even found that one of them overlapped with my preparations for it.

The proof of the pudding etc will come in my tutor’s reaction to my work but I do feel this has been a useful change in my approach. Rather than turning the page at the end of chapter and discovering what’s needed for the assignment, this time when I reached that point I had a coherent set of ideas in place for me to pursue.

Assignment 4 is about following a theme. While it’s OK to create your own I chose one from the list offered in the workbook and selected ‘Power Struggle’. Living in coastal Suffolk the fact we have 2, nearly 3, nuclear power stations close by is never far from one’s mind or line of vision. While I would naturally lean towards an anti nuclear standpoint, any developed or considered understanding of the situation would recognise that it is a complicated and nuanced situation.

In an attempt to focus the thoughts over the theme of ‘power struggle’ and the local nuclear situation I produced this mind map. Please excuse the poor handwriting and bad spelling (such a shame the Bic biro doesn’t come with a spell-checker…)


Ass 4 Mind Map

Assignment 3: A Staged Photograph

I feel an explanation is required. Due to circumstances beyond my control I’ve not been able to complete this assignment as per the course notes. It hasn’t been possible to make a link between this assignment and the earlier Part 3 exercise. Realising this was going to happen, for several days I’d been mulling over how I was to complete the assignment. Staged photography is not the kind of work that comes instinctively to me and it felt like an impossible task. I suppose it’s all about the drive and the urge to create and if that isn’t present then what may follow is forced and thus lacks sincerity.

A few days ago I took trip down to London and visited a few galleries. Now this turned out to be an amazing coincidence as one of those was the Gregory Crewdson ‘Cathedral of the Pines’ exhibition at the Photographer’s Gallery. (I’ve written about the exhibition elsewhere on this blog: click on the Non OCA Work tab). Another was the National Gallery, which we cut short as it was ‘rammed’ with visitors. Nonetheless, a slight break in the clouds of Italian teenagers allowed me chance upon this:

The Cognicenti

I turned to my partner and said ‘Look, it’s just like our study!’ I was curious enough to record the event and take these pictures.

Picture Lable

This simple act combined with the Crewdson exhibition had clearly planted a seed that a few days later started to germinate. OK, I wouldn’t be able to fulfill the assignment as per the book but the assignment also requires a comment or two on the development of my photography at this point in the course. And there I found the solution to this assignment…


Cognitive Dissonance with Lucida


Firstly, it’s a self-portrait and it’s a parody. It’s not meant to demonstrate or suggest that cognitive dissonance is occurring. Rather it picks up and plays with the word cogniscenti. Here I am struggling to get my head around Roland Barthes’ ‘Camera Lucida’ and I’m guessing I’m not the only one ever to have found it a steep learning curve.

I’m sitting in our study with its pictures on the walls and various objects that create echoes of painting by the unknown Flemish artist. The room was prepared for the shoot and this did include using a duster and a vacuum cleaner! The cognoscenti in seventeen-century Antwerp had paintings but I’ve got photographs. They pour over books and so do I: 2 dictionaries and various photography textbooks, all of which were required in my cognitive struggle with Lucida. In recognition that this is Assignment 3 I’ve also included photos from some of the Part 3 exercises and my ‘significant object’. I’ve even placed a suggestion that all of this has driven me to drink!

Technique-wise I had to use a wide angle as the room is small. And I used a softbox to illuminate the shot. Relying on natural light would have left too much darkness in the corners creating a mood that is absent from the original painting.

Lighting & Camera

Even so I had to open the wardrobe doors to get the lighting and camera configuration I wanted. My approach turned out to be quite meticulous. Lots of test shots were taken and examined just to get the props in the right place. For example: the OCA workbook was placed on the printer to break up the large expanse of black in the bottom right-hand corner of the image.

This might not have taken me to the extremes adopted by Crewdson but I did enjoy the directorial role staged photography creates. On reflection, I feel my image owes more to Tom Hunter whose work I researched earlier in FiP. It’s possible to see the influence of early European landscape painting in Crewdson’s work but Hunter actually mimics or recreates works of the great masters of European painting. My attempt at staged photography inverts the Flemish original and renders a parody of the mature student of photography’s attempt to understand one of the key text of the subject.


My FiP the journey so far…

I am so pleased to have signed up for this course. It has opened my eyes to what I could achieve with a camera. For example, while I don’t know if staged photography will ever become part of my work I’ve had a go and enjoyed it. When I signed up for this course I could not have seen myself creating such work. Technically I’ve improved too, both behind the camera and particularly so in postproduction. The exercises have taken me into areas I wouldn’t have generally gone and so given me the opportunity to expand my photographic repertoire.

Looking at the work of other photographers has been an interesting aspect of the FiP. One of my original hopes for the course to was broaden my understanding of photography as an art form and the opportunity to research the work of others has certainly facilitated this wish. Moreover, studying the work of others helped in my own artistic understanding and practice.

Another aim I identified upon enrolment was to develop my own artistic voice with the aid of FiP and I feel strongly that is occurring. It is important to me that in addition to my OCA studies I follow a path of my own. While I have varied photographic interests one aspect that I feel is developing well is that of my relationship with the natural world. Although this feels a little ad hoc at present, it is coalescing somewhere around the intersection between the natural world and the human one. One other thing I have learnt is the importance of research in one’s own work. This came as quite a surprise to me at the time but makes so much sense now.



Assignment 2 Painting With Light

To achieve these images the camera was mounted on a tripod with shutter left open for a lengthy exposure in the dark. Again, my partner was to be my model for this set of photographs and I thought her magenta fleece top would be a striking colour that would unify the series – a nod to Martin Parr and his use of red in his photobook Last Resort perhaps? The torch I used was a modern LED cycle light that proved to be too bright! To lessen its illumination I had to cover the homemade snood with piece of card with small hole in it.

After a couple of test shots it dawned upon me that I didn’t have to stand behind the camera waving the torch around. As such I varied the direction from which the light was coming, even moving around mid-shot to light the subject from more than one angle. This was easy as the exposures were between 15 and 30 seconds in length. One byproduct of this was that some shots had streaks of light recorded on them. This was due to light creeping out sideways from my crude improvised snood. While this struck me as a ‘happy accident’ the effect on some shots was too bold and distracting. In the final 7 images only one has this streaking effect.

Postproduction of the final sequence was low. As the series was conceived with colour in mind producing them in monochrome wasn’t seriously considered. The colours and exposures were consistence across the images and so didn’t need any adjustment. Generally, I darkened the backgrounds on some of them to emphasise the subject and I used the spot healing tool to remove the spots of light from LEDs on a telephone and audio equipment in the room.

In preparation for the exhibition aspect of this assignment the 7 photographs were printed out on 13 x 18cm photo paper.

Next, the FiP materials ask us to look at how a couple of artists hang their work in a gallery setting. ‘My Vows’ by Annette Messager is an impressive cluster of individual photos hung tightly together, suspended on strings, to form a singular work. The work speaks about identity, age, sexuality and the social construction of gender. Other works by Messager include grid like placing of framed photos on a gallery wall.

Mesager my vows

Annette Messager ‘My Vows’


In common with Messager, Wolfgang Tillmans also steps away from the convention of a linear display on a gallery wall. Sometimes producing quite large pieces that occupy a wall to themselves, he can also display small works in a grid-like structure.

Tillmans 3

Wolfgang Tillmanns Exhibition


What makes the placing of these gallery images ‘work’ however is hard to define – especially when looking at photos of the gallery space on the internet. I suggest it is an aesthetic alchemy where the harmony of colour and form as well as discord and contrast combine with the spaces between images to form an agreeable juxtaposition for the artist. And with this in mind I warmed towards this comment about Tillmans approach on the Andrea Rosen Gallery website

…the pictures all come in three standard sizes; nothing is framed, just scotch-taped or hung on binder clips like banners on the wall…   …the hanging gravitates around a horizon and a virtual grid in which images don’t fill all of the gaps but a sense of balance and rationality is conveyed from the placement.

Quoted from: (viewed 5/3/17)

What I don’t sense is that either Tillmans or Messager are applying any classical approach to displaying their works but rather stepping away from traditional conventions.

Before considering the works of these photographers and prior to giving the ‘exhibition’ much thought I assumed I’d display my images in conventional linear format. Of the seven, three were in ‘portrait’ format and four in ‘landscape’ format. I kind of assumed they would alternate in format starting and ending with a ‘landscape’ rendering a balanced display.

Seeing the gallery settings of Messager and Tillmans immediately made me question my latent feelings towards the presentation of my images. Why I had, notionally at least, considered a linear approach is something strange as I have around my home quite the opposite. The wall straight in front of me has a collection of photographs from over 25 years of overseas birdwatching holidays while the downstairs loo also testifies to a somewhat obsessional interest in birds. I picked up this way of displaying images many years ago after reading John Berger’s Ways of Seeing.

DSC_2358 blog

The wall in front of me

DSC_2359 blog

The downstairs loo!

Having decided on a grid-like approach the question I had to answer was what structure I would I would adopt. To work this out I turned the seven images face down and played around with positioning them until I found one that appealed the most. Each permutation was photographed to record the thought process – see contact sheets. Once I decided on the best arrangement I turned them over and began another process of arrangement of the ‘portrait’ and ‘landscape’ formats to find the most agreeable. The final arrangement, which varied subtlety from final face down version (minor adjustments to the positions of the photos), was ‘blu tacked’ to a wall and photographed.

In the final display the boldest image in terms of colour was placed in the centre. Earlier versions had this image on the periphery but the overall look seemed unbalanced due to the extent of magenta. Once placed in the centre it was mater of arranging the others in a harmonious way were no image image clashed with its neighbour – for example the two full length portraits were kept apart due to their similarity. What I feel I have achieved is a circular rhythm within the display.


Messager: (viewed 5/3/17) (viewed 5/3/17)

Tillmans: (viewed 5/3/17)

The 7 Photographs


The 7 Photographs as an exhibition


DSC_2391 blog

Contact Sheets

Assignment 2 CS

Assignment 1: Response to Feedback

Below is my response to the feedback given to me by my tutor, Jayne Taylor, for my submission of Assignment 1 – The Square Mile

Here is the feedback: fip-a1-feedback

“You’re interested in the management of Minsmere but I felt like a visitor”

I actually wasn’t surprised by this reaction from Jayne. While it wasn’t at the forefront of my consciousness I did want to produce an attractive series of images. I have a close and personal relationship with Minsmere as a location which is different metaphysically from Minsmere the RSPB reserve. As I have a great fondness for the place I think it was instinctive that I would wish to represent it well, perhaps even promoting it at the same time.

The sequence of images 1

Of course! Why didn’t I see it? Even after I named it ‘somewhere to rest’ the penny didn’t drop. Yes, the photograph of the bench needs to be located elsewhere and not at the beginning. Though I haven’t mentioned this in my written account for Assignment 1 the sequence of images represent a journey made through the reserve starting at an access point close to the bench and ending amongst the sand dunes by the sea. This is in keeping with a sense of honesty that can preoccupy my approach to taking photographs. When I was young I was very influenced by Henri Cartier-Bresson so, for example, I invariably compose in the viewfinder and feel that cropping is a bit of a cheat. And it is this that has stopped me in the past from fully embracing the postproduction aspects of digital photography. That said the FiP is making me re-evaluate some these long held views and it hasn’t been a struggle to loosen some of them off.

The sequence of images 2

Again, I had tied myself down by insisting that conventional landscape would not be a feature of the sequence. Jayne wasn’t alone in commenting on this as some of the peer feedback I received also made similar remarks.

So, following Jayne’s suggestion I have added to the sequence a view over what is known as ‘the scrape’ and titled it ‘The Destination’. Moreover, I have moved the opening image ‘Somewhere to Rest’ further down in the sequence. I replaced it with ‘Walk Over water’. This quite striking composition of a wooded walkway seems fitting for an open image. It draws the viewer into both the image and the sequence and metaphorically into the reserve itself.

A more critical response to the work of Dan Holdsworth

I had actually said more about Holdsworth in my scan of the ‘mind map’ than I’d formally written in my assignment. A quote from Wikipedia states that Holdsworth’s work is characterised by “…radical abstractions in geography”. And I think it is this that is stopping from me really appreciating his work. Earlier I mentioned my preoccupation with ‘honesty’ in photography and I feel his artifice in representing landscape is troubling for me. I know the lengthy exposures needed at night renders them this way but the artificiality that comes with them plays on the sense of honesty that I look for in this kind of work.

His landscapes however, are less troubling than those night-time images of empty car parks and roads. The stillness and silence is tangible and, like sitting alone in a room I need to have something going on in the background. I’d play some music or put on radio 4 and likewise in Holdsworth’s car park I long to see a discarded kebab wrapper. Otherwise, the sterility in these images looks too sinister for my liking.

Despite what I said above I’ll place one caveat in my critique of his work and that is because I’ve not seem the real images. My only exposure to Holdsworth’s work is through the computer screen and with this comes the limitations of size and tonal range of a compressed file. The image below shows his work in a gallery space and is clear he produces some very large images.


Notwithstanding my earlier comments about abstracted geography and the need for litter to bring some varitas to an otherwise dystopian urban landscape, I do wonder how I would react to seeing the images on a gallery wall. I raise this question because many years ago on a visit to the Birmingham Museum and Art Gallery I saw their Pre-Raphaelite collection. While I was aware of the Pre-Raphaelite Brotherhood their work had never really ‘caught my eye’; that was until I confronted them in a gallery. The depth and colour and use of light never seem to come across on the printed page and I wonder if something similar could happen upon seeing Holdsworth’s work in an appropriate setting.

Assignment One: Square Mile


What was your initial response to the brief and what ideas did you have for how to complete it?

I have covered this in more detail in a reflective entry in my learning log. To sum up, the Royal Society for the Protection of Birds reserve at Minsmere was an obvious Square Mile for me. The FiP materials asks us to consider an urban or natural environment and while mine is a natural one it is a managed wild habitat and not an untouched wilderness. In particular the RSPB promotes the reserve as a visitor attraction in order to raise financial income and promote its work as a conservation pressure group. With this in mind I have explored how MInsmere has been subject to processes that manage the landscape and wildlife habitats against competing and sometimes contradictory pressures of both wildlife and human access.

What have you learned from the two photographers you looked at, plus any other photographers you sought inspiration from? How did they influence your work on this assignment?

With Dan Holdsworth I was impressed by his night-time photography. Free of people and traffic his images have an artificial emptiness to them. The long exposures creating stillness and an ambient mood of stillness.



Dan Holdsworth: California 2014 02


Tom Hunter’s work depicts people living on the fringes of society in East London. These seemingly disenfranchised folk are given legitimacy through Hunter’s work that reflects local stories and issues. He choses to mimic or impersonate the work of great painters from this history of fine art – see below


Tom Hunter: The Way Home



John Everett Millais: Ophleia


I can see how both Holdswoth and Hunter comment on a given location through their work. There is a consistency in their approach that draws together the images found in a series.

Strangely, when I started to take the photographs of my Square Mile my mind kept coming back to the work of Tom Hunter. In his “Life and Death in Hackney” there are some images of water and rich verdant vegetation and these struck a chord with me. In my series there is a photograph of fish that I took on a bit of whim. I wasn’t thinking seriously about the fish image when I took the shot and I didn’t think it would form part of my series. However, while quite different from the work of Hunter it feels like it has echoes of his with the water and intense colours. It passed my ‘facilitation’ test (see Thinking About Assignment 1) quite easily and the more I thought about Hunter’s use of colour the more I was drawn to include it in my final series for the Square Mile.


What was your technical approach to the assignment? And what techniques did you use to make it?

  • DSLR with a 24 to 120mm zoom. By preference I lean more towards shooting with a wide angle
  • Where possible I kept the ISO low but some darker locations required me to go to 400ISO. All shots were handheld and taken on ‘manual’
  • It was very bright sunny day on one of my visits and that sometimes meant shooting contra jour. On balance sunlight presented more advantages than disadvantages. When necessary I bracketed some shots.
  • I was on site fairly early in the morning for two reasons. 1. The light would be better for some shots and 2. There would be fewer people around. I didn’t want to emphasise people in my photographs as I was, in part, trying to address how the facilitation of visitors has influenced the reserve
  • Post production has not been a over complicated. I tended to compose in the viewfinder and so needed little cropping. Some images have had a slight adjustment of their levels. The most ‘produced’ is the image of the fish. This was sharpened; in levels the mid tones were darkened to lessen the glare on the water, both shadows and highlights were subtly tweaked; and the red and green channels of the hue/saturationenhanced a little.


What’s your opinion on how you did? Are you satisfied? Are there any areas you’d like to improve? 

Overall, I would say I am happy with the results. Technically, I don’t think I had any great problems, though some of the images taken in low light have a narrower depth of field than I anticipated. This was the first day out with a new camera and lens and while my preferred wide-angle shots may give a broad DoF it’s clearly not infinite. This is something I need to be mindful about in the future. One of the visits presented me with exceptionally strong, low autumn sunlight. Some photographs were enhanced by this while others suffered. This is another technical aspect that I need to address and find ways of over coming it or working with it to my advantage.

Am I satisfied? On one level yes. This is first time in a long time that I’ve had to actually think about presenting a series of photographs that attempt to represent something. I feel I have conceptualised my Square Mile well and gone on to say something visually about it that reflects my thoughts about it. Beyond that, however, I’m not entirely sure. Last month, when I enrolled on the FiP I said I felt like I’d started a journey but it’s one whose destination isn’t quite yet clear. I felt I lacked the ascetic and artistic vocabulary to express such feelings, to be able to self-critique, and I hope that with feedback from peers and my tutor on this first assignment I’ll be able to start developing these necessary artistic skills.


Square Mile – Contact Sheets