Click here to view assignment details
Location images need not be restricted to the confines of a traditional landscape
Place
–noun1.
a particular portion of space, whether of definite or indefinite extent.
2.
space in general: time and place.
3.
the specific portion of space normally occupied by anything:The vase is in its place. Every item on the shelf had its place.
4.
a space, area, or spot, set apart or used for a particular purpose: a place of worship; a place of entertainment.
5.
any part or spot in a body or surface: a decayed place in a tree.
6.
a particular passage in a book or writing: to find the place where one left off reading.
7.
a space or seat for a person, as in a theater, train, etc.:Please save my place for me.
8.
position, situation, or circumstances: I would complain if I were in your place.
9.
a proper or appropriate location or position: A restaurant is not the place for an argument.
10.
a job, post, or office: persons in high places.
11.
a function or duty: It is not your place to offer criticism.
12.
proper sequence or relationship, as of ideas, details, etc.:My thoughts began to fall into place.
13.
high position or rank: aristocrats of power and place.
14.
a region or area: to travel to distant places.
15.
an open space, or square, as in a city or town.
16.
a short street, a court, etc.
17.
a portion of space used for habitation, as a city, town, or village: Trains rarely stop in that place anymore.
18.
a building, location, etc., set aside for a specific purpose: He will soon need a larger place for his expanding business.
20.
a residence, dwelling, or house: Please come and havedinner at my place.
21.
lieu; substitution (usually followed by of ): Use yogurt inplace of sour cream.
22.
a step or point in order of proceeding: in the first place.
23.
a fitting or promising opportunity: There's a place in thistown for a man of his talents.
24.
a reasonable ground or occasion: This is no place for such an outburst.
___________________________________________
In this brief I want to try and explore as many different styles as possible within the allocated time, in order to try and establish my own preferences and create my own style.
This may or may not be possible within the confines of the brief but hopefully it will give me an idea of the the type of photography I want to develop in the future - so much of this brief will be looking at other images and gaining inspiration/taking similar images and then fitting them into the 4 study areas; which are -
- The Familiar –adjective1.
commonly or generally known or seen: a familiar sight.2.
well-acquainted; thoroughly conversant: to be familiar witha subject.3.
informal; easy going; unceremonious; unconstrained: to write in a familiar style.5.
unduly intimate; too personal; taking liberties; presuming:The duchess disliked familiar servants.6.
domesticated; tame.7.
of or pertaining to a family or household.
- Alien or Foreign –noun1.
a resident born in or belonging to another country who hasnot acquired citizenship by naturalization ( distinguished from citizen).2.
a foreigner.3.
a person who has been estranged or excluded.
- Wilderness or Rural –noun1.
3.
any desolate tract, as of open sea.4.
a part of a garden set apart for plants growing withunchecked luxuriance.
- Built environment/Urban –adjective1.
of, pertaining to, or designating a city or town.2.
living in a city.3.
characteristic of or accustomed to cities; citified: He is anurban type.
Much of the places brief will also be dictated by the places that are accessible to me, whilst I will make journeys to specific sites, these will be limited by both time and outlay (for example I can't just jet off to Buenos Aires, which is a shame!)
_____________________________
Location images depend very much on colour, texture, and structure, which are inevitably ruled by the weather and time of day.
If you wanted a sky full of oranges and pinks, then a clear evening or morning shoot would be chosen and not a grey dull afternoon - whilst this may seem like stating the obvious, I remember many a time going out without checking the weather forecast - only to be greeted with a very wet dull day!
Weather can also raise concerns over moisture - do I need to cover my camera? There are a wide range of covers available but it's important to remember camera's and water (especially salt water) don't really mix, and no matter how much you cover your equipment, it needs wiping down after each outing, and keep lens changes to a minimum.
The time of day also affects the lighting conditions, the amount and 'heaviness' of shadows and these can either be utilised or avoided depending on what time of day an image is captured.
Equipment
This is an interesting article about 'gear" from the online magazine Pixiq
The most important piece of equipment for me is a tripod, as my hands are very unsteady and I can get camera shake even at high shutter speeds, I also have a monopod, which is easier to carry and quicker to set up, if I just need a little steadying.
If you've travelled to a location (especially one you may find hard to re-visit) you don't want to run out of memory cards, so I always take a couple of spares just in case I want to capture lots of images. Likewise with battery life, I always make sure it's charged before I go; I don't have a spare so I also have an in-car charger, just in case the life of the battery is shorter than my shooting opportunity.
I would like to shoot some images on film, but most will be on my DLSR - which has the ability to meter available light through the lens and inform you if an image is under/over exposed - but I am lucky enough to also have a light meter which is always in my camera bag. Like-wise, you may want to consider wether you will need a fill light and use a flash gun, either on or off camera.
There are many filters available, some of which can be added in post production (like graduated colour filters), some however need to be used at the time of capture. An ND filter is often used for long exposures to capture movement of water and/or clouds without over exposing the image.
A UV filter protects the lens and blocks out UV light - however there are potential issues with putting another piece of glass in front of your lens - a good article can be accessed here.
A polarising filter can be useful when shooting through glass, or near water, as they reduce glare, but can also be used when shooting against a bright sky. An article can be read here.
When considering which lens to use, there are countless options and variable - for example a wide angle lens would be ideal for a traditional landscape although too wide could create distortion, although in a city environment a wide angle/fish eye could create some interesting angles. Like wise, if taking images of buildings, the incorrect focal length would cause problems with converging verticals. A happy medium which offers choice and flexibility without the aide of a truck is the goal!
Here is an article on Lens Choice from Photoezine.com
As with many things in life, it is not what you have got, it is how you use it. That certainly applies to lenses, your 'eyes'. Your choice of focal length entirely depends on how you want to interpret a scene. It is true that if you put two photographers in front of a stunning scene, one will fit a wide-angle and move in closer and the other will fix a telephoto and take a few steps back. Basically, there is no right or wrong when it comes to lens choice so long as it has produced the image you imagined in the first instance.
Standard zoom
Your standard zoom will find plenty of uses for landscape shooting, and you probably know that already. Its focal length coverage from moderate wide-angle through to short telephoto makes it a perfect partner for general photography.
Using a standard zoom is straightforward enough and the two sections on wide-angle and telephoto lenses cover the key techniques you need to know at the two lens extremes.
Avoiding camera shake is the main issue – as it is with any lens. Here is a rough guide to which shutter speed you should be using for handholding different focal lengths. Remember, this is only a guide and everyone and every situation is different. For example, if it is a windy day and you had a few beers the night before, you might find you need considerably faster shutter speeds.
Focal length Shutter speed:
- 15mm 1/15sec
- 28mm 1/30sec
- 50mm 1/60sec
- 100mm 1/125sec
- 200mm 1/250sec
- 300mm 1/500sec
- 500mm 1/1000sec
Wide-angle lenses such as the Nikon AF 14mm f/2.8D have a wide angle of view so get more into the frame. That is pretty straightforward and that is how such lenses are used, ie to get more in. But wides are also great at letting you to get in much closer to the subject giving a greater intimacy with the subject. This applies to whatever you are shooting.
There is a knack to getting the most from wide-angles. The most important technique is to fill the frame, especially the areas directly in front and directly above the subject. A common mistake of inexperienced wide-anglers is to include too much blank foreground or too much bland sky. Such problems are really easily sorted at the time, however: Just look around the whole viewfinder before you take the pictures, and if you think there is too much emptiness use the zoom to alter the crop. Or simply move your feet. It is too easy to be rooted to the ground when taking a stride or two closer to the subject or finding some foreground to fill the frame will improve the picture markedly.
Wides let you include more in the frame and let you get in closer but they apparently give more depth-of-field or front-to-back sharpness too. It is a fact that a wide-angle and telephoto give the same depth-of-field if the subject is identical in terms of magnification in the viewfinder. The thing is, though, wide-angles are not used in that way so that is why they do give more depth-of-field in a practical sense.
Assessing how much depth-of-field can be done with the depth-of-field preview facility. This stops the lens down to its set aperture and lets you assess how much of the scene is sharp. Let your eye get used to the dimmer image before making an assessment.
The Expoaperture depth-of-field guide is an useful accessory if you want to be more accurate in your depth of-field.
If you want extensive depth-of-field in the landscape set f/16 or f/22. If you even more, focus roughly one-third into the scene. It is not obvious through the lens but depth-of-field actually extends beyond as well as in front of where the lens is focused.
By focusing one-third of the way in and not on the actual subject, the depth-of-field behind the point of focus is not wasted and you gain more sharpness in front of the subject without losing sharpness at infinity.
Zooms no longer have depth-of-field scales marked on them but we have used a Nikon fixed focal length lens to show you the principle of optimising depth-of-field.
 The lens is focused at infinity and let us assume that we are shooting at an aperture of f/16. If you look at the depth-of-field scale, you see that sharpness at f/16 extends down to just over 2m but not any further than infinity because that would be impossible. |  However, the focusing barrel has been adjusted so that the infinity focusing index is opposite the f/16 index. Now if you look at the f/16 index you can see that you have increased the zone of sharp focus from infinity to around 1.5m. |
This technique is called hyperfocal focusing. While on zooms it is tricky to use it accurately, adjusting focus so that you are focused a little in front of the subject will help you achieve a greater depth-of-field.
Telephoto techniques
While wide-angles such as the Nikon AF-S VR 105mm lens include more, telephotos let you be much more selective in what you frame up. For landscape shooting, a telephoto lets you isolate details, makes it easier to crop out a blank sky and compressed perspective. if you are high up, there is also the chance to use aerial perspective, which will cover later in this Photo Month. Although it might not sound like it, but aerial perspective is not to do with being high up. It is about how scene appears as it recedes into the distance, ie subjects closer to the camera are darker than subjects further away. This is very effective with landscape work if you want to give a sense of depth in a picture.
Accurate focusing is important regardless of which lens you use and it always pays to double-check that the image is sharp before taking the shot. However, it is true that there is a little more latitude in practice with wide-angles compared with telephotos. This is because telephotos give (apparently) more shallow depth-of-field. So make sure that you have the subject in sharp focus and if the camera is not focusing accurately, either switch to manual or use the camera's focus lock, ie partial depression of the shutter release, focus on something at a similar distance of your subject, hold the button partially down and then recompose the image.
For landscape work, being able to isolate detail and to compress perspective is a very powerful tool in your armoury. Picking out strong lines, textures and features like trees, barns and so on is incredibly useful. As the saying goes 'less is more'. On days when the sky is not very interesting, a telephoto also makes it much easier to crop it out.
Just like wide-angles, however, composition and you use various components of the scene within the picture frame is crucial to well-composed images. Changing camera position, trying upright or horizontal framing and following guidelines like the rule of thirds all help produce pictures with more impact.
Macro lenses
You might think that a macro lens is not much use for landscape, but you'd be wrong. A typical macro lens is a short telephoto (60mm in APS-C format cameras and 90/100mm in full-frame 35mm cameras) so it has plenty of general uses, but being able to focus really closely can be a real boon in certain circumstances.
A notable situation is when the light is horrible and the sky very bland. This is the time for micro landscapes where you can use the close-focusing ability of a macro lens to get you right into a scene. With a macro lens you can explore clumps of moss and lichen or patterns in leaves or flowers. Once you start exploring this style of photography you will be amazed at what you will find. It is an intimate world that is full of photographic potential.
The important of macro lens technique is the very limited amount of depth-of-field available even at very small apertures. Focus very close up and depth-of-field is measured in millimeters even at small f/stops. With this in mind, focus very carefully and use the camera's depth-of-field preview to check what is going to come out sharp at different apertures. If you use the preview, allow your eye to get used to the darker viewfinder image before making an assessment.
Once you are this close, the camera's AF can struggle and it will end up searching back and forth for sharp focus. This applies especially when there are areas of low contrast, even tones in the scene. If this happens, don't blame the camera because this is not unusual. Just switch to manual focus.
A tripod is a good idea too. It will help avoid camera shake and allow you to make very precise and repeatable compositions too.
________________________________
Research images
Over the course of this breif, I have been looking at lots of different images, genres, styles and practitioners.
Here are some of the images that I have highlighted in books and on the web, which I grouped together where I can see patterns emerging.
Patterns
 |
| Alma Lavenson, Calveras Dam - 1932 from A World History of Photography by Naomi Rosenblum |
 |
| Andre Gursky - Times Square - 1997 from Masters of Photography, classic photography artists of our time by Reuel Golden |
 |
| Marcus Lyon from The AOP's 2010 27th Photographers award book |
 |
| Charles Sheeler, Industry - 1932 from A World History of Photography by Naomi Rosenblum |
Composition is important, making sure that lines are were you want them, either straight or into the corners of the frame.
Time of day would play a key part in taking this type of image, as well as relying on sunshine to cast shadows. Depending on the time of day, the shadows would move.
Finding a fairly flat location is important for the above images, so that the image captures the different layers and the lines are continual and not broken by hills/bumps in the foreground. Again the aperture required is smaller, as you want distant horizons to be clear.
There are many examples of 'urban exploration' on the internet/Flickr as well as published works - but I like Dylan's work because of the muted tones. Safety in derelict spaces is a concern.
Shadows and Shapes/Structure
 |
| Andre Kertesz, Paris Night Square - 1927 from Masters of Photography, classic photography artists of our time by Reuel Golden |
 |
| Bernice Abbott, Under the EL at the Battery, New York - 1936 from Masters of Photography, classic photography artists of our time by Reuel Golden |
 |
| Frederick H Evans, In the Attics - 1896 from A World History of Photography by Naomi Rosenblum |
Simple Lines
 |
| Ansel Adams, Ice on Ellery Lake - 1941 from Masters of Photography, classic photography artists of our time by Reuel Golden |
 |
| Greg White from the AOP's 2010 27th Photographers Award Book |
Degeneration
 |
| Dylan Thomas from the AOP's 2010 27th Photographers Award Book |
Windows
 |
| Andre Kertesz, Une Fenetre Nu - 1928 from Masters of Photography, classic photography artists of our time by Reuel Golden |
 |
| Andre Lichtenberg from the AOP's 2010 27th Photographers Award Book |
 |
| Tim Goffe, Sea View from the AOP Open 2008 |
In today's built environment finding windows with clear views can be difficult, and gaining access to such places would be down to an individual allowing a photographer to enter, or by visiting public places.
As windows would vary in location, I'm not sure how I could work these into the brief, but I will still pursue this area and see how it goes.
I like the sense of perspective that these images give. That no matter how big we build things - nature is always bigger/stronger/better - and this could be shown in various ways; scale, perspective, natural events such as storms.
I've looked at, and dismissed lots of different images, because either the image doesn't appeal to me personally, or because within the scope of my work - the images aren't plausible ( like areal shots from a helicopter!), but of the research images I like, I do have concerns in how to tie these in with the 4 study areas.
Weather - March and April can vary so much! Have a plan B incase of awful conditions?
A lot of my travel is dictated by when I have a car and/or when some one can accompany me (for various reasons) so I don't feel as free to just 'jet off' when the weather conditions are suitable - this is also a concern.
From the research images I've been looking at, I like images with the above themes, as well as images that have a familiar feel to them even if the image is not of a place you've been or taken yourself - wether that be in it's look and tonality, or the subject matter so I am also going to look into creating a nostalgic set of images, perhaps coastal/landmark based - again, how to tie in to the 4 study areas?
Ideas;
Retro/Old feel
I've seen images on Flickr of different subject matter that have the same feel about them. I'm not sure if it's because of the colour and treatment of the image, or because it looks like an older print - but there is a familiarity to it, a retro feel that reminds me of when I was younger - I appreciate images that have a nostalgic quality.
 |
| Luke Pajak, Green Car from AOP Open 2008 |
Nature dominating/dwarfing man
 |
| Chris Woon from BJP March 2011 |
 |
| Ian Gabaldoni, Tree Line from AOP Open 2008 |
____________________________
Travel
I have made a conscious effort to get out more to find locations for this brief; and whilst family commitments mean I can only day trip, and health issues mean I can't walk vary far, (so no mountain views for me!) I have clocked up a few miles in the car!
- Bike Ride Sunday! Blackpool
- Salmesbury Hall
- Derelict Building, Preston
- Old Mills
- Lytham
- Blackpool
- Manchester
- Windermere
- Morecambe
- Southport
- Tynemouth (North East coast)
- Menwith Hill (Yorkshire Dales)
- Clacton on sea (Essex)
and off course my home town - Blackburn
- The streets where I grew up
- Journey - measured task (below)
- Witton Park
- Corporation Park
___________________________
Ideas/Concerns
I've looked at, and dismissed lots of different images, because either the image doesn't appeal to me personally, or because within the scope of my work - the images aren't plausible ( like areal shots from a helicopter!), but of the research images I like, I do have concerns in how to tie these in with the 4 study areas.
Weather - March and April can vary so much! Have a plan B incase of awful conditions?
A lot of my travel is dictated by when I have a car and/or when some one can accompany me (for various reasons) so I don't feel as free to just 'jet off' when the weather conditions are suitable - this is also a concern.
From the research images I've been looking at, I like images with the above themes, as well as images that have a familiar feel to them even if the image is not of a place you've been or taken yourself - wether that be in it's look and tonality, or the subject matter so I am also going to look into creating a nostalgic set of images, perhaps coastal/landmark based - again, how to tie in to the 4 study areas?
Ideas;
__________________________________
Set Task - Blackburn Journey
We were given a set task which can be viewed below.
The task was for the next day so there was not an abundance of time to collect thoughts/ideas and the weather conditions might not be ideal.
In consideration to this I decided to get out as early as possible in order to give myself;
- enough time to revisit locations if the weather changed
- the best possible light
- uncluttered scenes (no people hanging around)
In terms of equipment - I packed by camera bag with my camera, charged battery, a range of lenses, memory card, monopod and light meter. I dressed warmly (it's still very cold in the early morning) and put on my hiking books just in case I wanted/was able to get off the beaten track.
I planned to take images along a pre-determined route and allowed time for parking/stopping, image editing, site re-visit if required etc.
The places along my route were;
- Wilpshire train stations
- Sunnybower hill
- Whitebirk industrial/retail park
- Eanam Wharf
- Town centre
- Cathedral Quarter
I choose these locations because;
- It shows a diverse mix of the structures and building in the town
- It is a true journey from one part of town to the university building
- It covers a diverse social/economic range of the towns population (Wilpshire is affluent whilst Whitebirk is more lower/working class)
- The chosen sites cover a wide range of uses from industrial to pleasure
- It would provide opportunities for colour, detail and different viewpoints
I had a look at some research images but instead of looking at famous practitioners I looked at images of Blackburn specifically using Blackburn Historical Society and Flickr and a local history book.
From that it came apparent, that most images of this historic cotton town are one or more of the following;
- Old/Historical images of the cotton industry
- Bleak (both in terms of colour palette and subject matter)
- Traditional in composition (straight on)
- Documentary in style
I wanted my images to show a different viewpoint, as I think the town has many different facets, is colourful, has diversity in terms of its population and its social and economic standing and is also in the process of of a regeneration period in some areas.
Although the brief said work together, I decided to work on my own - for ease more than anything because I was getting up early - but for safety I did let people know my movements and checked in by phone on several occasions.
During the process of shooting I used my TTL light meter to give the right/guide exposure and adjusted from looking at the shots taken - each time adjusting for new environment/conditions. I also looked for details that people would pass un-noticed in daily life as well as looking for different framing opportunities and viewpoints.
Here are the shots taken.
I hope you can see from the contact sheets, that I have tried to vary the composition, depth of field and focal point of the images within the same scene. At the cathedral for example, I tried capturing images from various positions, and changed the focal point from the building itself to the flowers in front, and then to the clock above. I also changed the composition, from having the tower to the left , then to the centre - just to see how this would effect the overall feel.
I've also tried to capture everyday details that would usually go un-noticed or taken for granted, and have tried to capture as much colour as possible.
I also wanted to convey the changing light and how that reflected on objects and reflected in glass/water etc.
From this selection I then had to choose and edit 24 images.
Here is my final selection - based on
- the overall feel the set has
- a reflection of the journey
- the colour diversity of the set
- Technical quality (in focus and properly exposed)
- fulfilling the brief
These were then printed on 2 sheets of A4 and 'judged'. I found the process useful and received some good constructive criticism but we didn't have the chance to talk about any ideas or concepts we had had, which might have added to the viewers appreciation of the images.
In analysing my own work, I can see some clear themes re-accuring from the research images, such as patterns, simple lines and the abstract effect of shadows.
I am glad we did this exercise, and whilst some of these images might not be used in my final portfolio, it has allowed me some time to take a fresh look at my surroundings.
I would like to use Blackburn as my 'Familiar' place as its the most significant place to me, and where I will always consider 'home'.
As a result, I am now in touch with Sarah Dobbs, who is collating written pieces for a book called 'Voices - a Blackburn Anthology'. I am hoping to read some of the pieces and take some local imagery that will compliment the written works - as well as provide some family/archival images.
After talking to family members about their memories of the town, and how it has changed so dramatically over the last 50 years, I'm going to call this piece of work '2nd hand memories' as much of what they discuss is no longer around for me to appreciate!
As well as taking images of Blackburn myself, and collating some past family images, I have also contacted Blackburn Library, and The Lancashire Evening Telegraph - but as yet have had no response!
______________________________
Voices - A Blackburn Anthology
(MORE BLACKBURN IMAGES TO FOLLOW - JUNE SUBMISSION)
Edited Blackburn images can be viewed through Flickr
I now have a copy of all the written work that will be used in the book and have met with Sarah to discuss possible images.
The outline brief does not require a specific look, feel or mood throughout the set, but can be i individually tailored to my interpretation of the literature. Whilst this gives me a lot of freedom, I am nervous as usually people do have something in mind, and my interpretation my be somewhat different to Sarah's.
For ease I have made a 'Blackburn" set on my Flickr account and will add images to share with Sarah on an ongoing basis, with notes to which piece I think the images would work with - then Sarah is free to pick and choose what she likes.
There is no clarification yet on file type/format from t he publishers, so I will upload JPEG's to Flickr but also make/save a TIFF and PSE file and regarding size I will make everything scale-able to fit within A4 (which can always be made smaller if required.
Other considerations, whilst some of the work doesn't cite or focus on Blackburn - I do think it's important that the bulk of the work pictures the town (i.e. was actually shot in Blackburn? although some seaside memories could be quite fitting for some of the work)
Written pieces
The Community
A piece set in a harsh winter, a community coming together to dig away at the snow to help a neighbour - with a surprising twist and heroine.
The colours of Blackburn
A poem about the age, diversity and 'feel' of the town
Piss Town
A poem about mixed fragments of memory recalling specific moments and landmarks
My favourite row
A poem about childhood nostalgia
Northern Street
A poem of observations, fragmented memories.
Egg shells
A story about childhood memories of going on holiday to the seaside and family interaction
Dandelions and nettles
A story about childhood memories
Cotton Town
A collection of statements and views from the YOUTH ACTION AMBASSADORS GROUP
Industrial Anthem
A poem recalling Blackburn's industrial past
The Methodist Chapel
A poem about the degeneration in some parts of the North
Other possible images
The King is Dead
Bluebell Wood
___________________________________
Assessment images (Places)
Images taken to date that are under consideration
(various stages of editing)
Edited images can be viewed here
Pattern, Shapes and Structure
Degeneration
Windows
Nature dominates
Retro, Postcard & landmarks
Edited images can be viewed via Flickr
_______________________________
Putting together a book as an Assessment Portfolio
After an interim assessmnt, it was recommended that I look to put a book together; as I have taken a lot of images, picking 8 would be very dificult. Also my approach with research and image capture has focussed on other things, rather than the 4 work areas outlined in the module breif.
Whilst this has been an ongoing concer (relating to how the work will fulful the breif) I have been assured that there is room to work outside the 4 study areas as long as all the varying techniques and learning outcomes have been covered.
I have looked at several different methods of book making, including Blurb and Aperture plug-in's.
Prices vary, but I chose Blurb because the interface appeared more user friendly and the shipping was quicker! I want to have the book in time to make last minute portfolio prints if I'm not happy with it!
Blurb allows you to choose various layouts and place your images onto a page, zoom, crop, lay images over one another, add text etc.
The hardest task was layout - choosing images that worked with each other. I am still not sure if I have done this, but I have tried to consider it by;
- Placing images togethor with a similer pallette/tone
- grouping images by 'type'
- Using white pages to keep the images clean even when there are several to a page
- Kepping a lot of blank space
- keeping the layout/size of images consistant throughout (i.e. the chapter pages are all the same layout in terms of gutter and margin size
I couldn't use all the images I wanted to becuase of the cost of adding extra pages, but here is a link to my book which does preview some pages.
The best images are in the book but I will also print off 4 images to sit under the 4 areas of study.
Familiar
This image represent 'Familiar' to me as it was my landmark
on the way home growing up.
It also reminds me of the lamp featured in
"The Chronicles of Narnia"
Alien\Foreign
This image was taken in Tynemouth - on my first ever visit there.
This 'window' was in an old WW2 weapons bunker on the coastal defence point.
I found the venue very alien to me as war is something I have never experienced
and the atmosphere was deserted and cold.
Built
This image is taken in Manchester of the library
I like the lines and detail in the structure.
The weather was wet and grey and influenced my treatment post production.
Rural
This image to me represents a typical rural british village.
It's taken in Wycollar a very remote and removed area of Lancashire.
Overall, I'm please with the wide range of images I've taken during the module, and looking at locations differently. I think I made it more difficult for myself by taking such a large number of images and by not sticking rigidly to the 4 study areas but in doing something differently, it has allowed me freedom to explore different types of imagery that I had never explored.
In putting the book together I have made some mistakes in that I have chosen images that work together and maybe not showcased all my best images.
If I was to do a book again I would perhaps go out intentionally to get multiple images that work together - weather it be colour/mood or location, but as I didn't know at the outset I would do a book, this was unavoidable.
I could have perhaps also played a little more creatively but I wasn't struggling for images or inspiration.
Overall I feel I have performed well and fulfilled the brief as well as discovering a new confidence for shooting outdoors. I feel that I have improved in terms of composition, CS5 and lightroom use and framing.
