Demonstration of technical and visual skills

  • I tried initially to use my subconscious response to the place and to really observe, this helped me to see beyond the many conventional images of the space which mainly say “picturesque”.
  • Using my new prime lens which I had experimented with a lot over the previous month pushed me to move around to find the angles and relationships that I needed to capture – I really enjoy using it.
  • The shooting though over a couple of weeks was mainly in cloudy dull weather. I tried to get as great a depth of field as the light would allow as I worked without a tripod so that I could move quickly and respond to my instincts and to avoid moving people and vehicles.
  • I previsualised more than ever before when setting up shots, particularly as I thought I would present the series in black and white. Once I decided this I purposely sought compositions that had good texture, shape, lines a, edges and contrast, though I lost a few during editing.

Quality of outcome

  • I thought hard about my intention for the work, signs of the space being places.
  • I also thought hard about the context, historical and contemporary imprints on the land and how to anchor this meaning.
  • Ultimately I formed a series by finding cohesion in the dominance of the sea wall and stone structures in the place.
  • When editing I used my learning from the photographer study day Mimi Mollica, in particular to make sure I was saying something with each image.
  • I returned to shoot on numerous occasions having viewed images from a previous shoot to change/improve images.
  • I have returned to including contact sheets this time to show how I have edited the series.

Demonstration of creativity

  • I felt confident as I shot and committed myself to my own pathway and intent.
  • I let myself respond intuitively to the subject and didn’t overthink things.
  • I feel that in the assignment that my personal voice is emerging, a way of seeing and a way of presenting my response, although I know I need to reflect on it more in “real time” in my journal.
  • I am happy that I have created work that is not a conventional view on a subject and feel that each image has something to say.
  • Although I had studied the location for exercise 5 I had no intention then to use it. I chose this location as my place because I knew it would produce a deep response in me it and as I wanted to discover what that would be. I encouraged myself to look in a different way to that which I do normally when there.


  • My coursework led me to research that then led me into the assignment well. I deliberately didn’t chose a subject/location until I had finished the coursework this time. I was particularly influenced in my work by Jem Southam (the passage of time and slow looking), Joel Meyerowitz ( responding to place), Paul Hill (observation and composition skills), Raymond Moore ( consciousness of place), mark Ruwedel (landscape as agents for change).
  • Although I ran behind on the hand in for this assignment I was photographically active, especially on assignment 6 and with wider research and photographic events during the time; I feel I did the right thing to delay and incorporate this learning in my work.
  • I regret that I haven’t captured this more I real time in my journal but it is all contained in my blog: Photo London, study days, google hangouts, artist talks and physical meetings with OCA photography colleagues.
  • This assignment caused much reflection during it and even up to the final day of the draft when comments by peers at a hangout caused me to change 2 images in the series.