Year 2 Unit 30: Location Photography

Unit 30 - Location Photography

Evidence required for assessment:
• 800 word Research essay on specialist fields of location photography.
• Six to eight photographs for the two themes, (Documentary Mandatory)
mounted for presentation.
• Notes on colour theory.
• Exercise – Technical notes and illustrations shot using different light
sources to show investigation of their colour properties.

Summer 2016 Project

Summer project brief, to look a two structures and examine the architecture, detail & atmosphere 

Torquay otherwise known as the "English Riviera" it a coastal town with a huge array of buildings and structures from many different eras & design influences and was the location I used two find two subjects of architectural interest, one of these structures was a ferris wheel while the second was the Pier section of the quay wall.

Torquay ferris wheel & Gondoliers: 

The ferris Wheel

Torquay Pier:

The Pier at Torquay was a Victorian built structure covered in artistic motifs of the day, 

Colour Theory

Evidence to include technical notes and illustrations to show understanding of the

following:

Colour & Colour theory.

colour is integral to a photographer's thinking, see in colour not monochrome aliset emotional reaction with more descriptive sensory information in the image.

RYB: Red, Yellow, Blue

Red, yellow & blue are the Primary colours that used in the creation of all the other synctable colour found in a basic colour spectrum. secondary & tertiary colours are created from the combinations of primary colours.

RGB & RGBY: Red, Green, Blue & (Quattron) Red, Green, Blue, Yellow (Additive colour)

red, green & blue are the light spectrum primaries, the light spectrum makes up all visible colour we can see with the naked eye, this spectrum is important for photographers who work in digital mediums for the fact that the sensor picks up colour in this format & when looking at said images you are looking at screens which work by using additive colour.

CMYK: Cyan, Magenta, Yellow, Black (subtractive colour)

CMYK is the selection of used as the primary colours used in print otherwise know in the print industry as cyan, magenta, yellow and black. When you mix all the colors, the result is gray. If you look at a printed page with a magnifying glass you will likely see a series of partially overlapping dots of the primary Ink colours.

Color harmony:

colour harmony is the pleasing arrangement of colour which gives off a emotional balance that works in the context of the image.

Selective colour can create interesting effects in photoshopped photographs.

Colour balance & saturation

colour saturation is 

Colour temperature.

different colour temperature evoke different emotions

<-- Cold colour Vs Warm colour -->

Colour value 

Colour properties of different light sources & colour balance.

led & fluorescent light sources give off different qualities & temperature of light.

Colour wheel: 

the colour wheel is foundation on the way colour is cataloged & created from the subtractive colour spectrum, the wheel gives a visual representation of colours and their relation to other colours in the spectrum, Including the relation between primaries and secondaries,

Grey scale:   grey scale is the tonal range between black & white

CHROMA: saturation (Purity of the colour) unsaturations

personal photos taken at Westonbirt Arboretum during the saltus & change of season, this change saw the leafs on the tree's become incredible hues & colours

Complementary colors opposites on colour wheels from Primary:

Analogous or adjacent colour: in the theory of colour harmony a group of three colours exactly next to each other on the colour wheel.

the adjacent colours of orange are red & yellow 

some analogous tonal variations of the colours Blue & Purple

Monochromatic colour hue: variations and different tones of the same colour

different saturation strengths of a tone of blue & red

monochromatic tones of wood

Photos taken as evidence of colour hue

this Image is composed mostly of shades of green in a variety of bright and dark hues

Opposing colour: colour that doesn't match coherently

there isn't colour harmony in this image

Documentary Location: Arnos Vale Cemetery (Using Digital Pinhole) 

Marko Dutka Brief: to capture the War Graves at arnos vale for the war graves commission in conjunction with the Living Memory Project for a gallery at bristol cathedral at college green, the catch was that the images would have to be taken using digital pinhole, meaning that photos would be taken with a long exposure & have no means of creating focused images, we were give full freedom in the way we could carry out the brief as long as we followed the guidelines of the brief.

Marko's Webpage: studiomarko.com

The Commonwealth War Graves Commission described the living memory project as a nation wide program which aims at reconnecting the public with the war dead buried across the UK. 2016 was the ideal time to start the project for it would coincide with the centenary of one of the defining events of the Great War, The Battle Of The Somme. The living memory project consisted of 141 events by 141 groups across the UK between the 1st of july and the 18th of November, CWGC' living memory project was supported by the Government departments for Communities and Local Government & Department for Culture Media & Sport.

Commonwealth War Graves Commission Webpage: www.cwgc.org

Pinhole Cameras:

A Pinhole camera is a lensless camera which has a pin hole for an aperture, this aperture only allows a small amount of light pass through to the light sensitive recording media, the pinhole restricts the light entering the camera so the sensor isn't over exposed in the same time of a conventional photograph of a fraction of a second, instead the exposure of a pinhole image in normal light can take over 30 seconds to properly expose.

Pinhole Photographers: Chris Keeney & Daniel Tuckmantel

Chris Keeney is a portrait & pinhole photographer who aims to "make" images which construct & convey personality. He has an infatuation with the process of Growth and Decay in the Wheel of Life which plays a major part in his photographic ideology where he sees each good photograph as a triumph over Time, the dimension that causes many of the things that photographers deal with to continuously vanish.

Creating a Digital Pinhole Camera:

The process of creating our own pinhole lens starts with an ordinary camera body cap, this cap has a hole drilled through the center of it, effectively destroying the lens cop in the process, this initial hole is quite large but is created for placing a material across the hole which wold then itself be given a slight pin puncture to allow a minuscule amount of light to enter to the digital sensor. 

The material used was a thick metal foil with was strong enough to retain its shape a resist the pins penetration to a certain amount, I had problems keeping the hole small enough to use taking me 3 times to get it right.

After sanding the hole clean the pinhole would then be fitted onto the inside of the camera body cap, making sure the pine hole was directly in the center of the cap and firmly secured in place with black duct tape.

the final step is to blackout the exposed metal of the pinhole to avoid extreme amounts of glare.

while using the pinhole I found that when exposed to direct sunlight enough light rebounds off the metal exposed in the pin aperture to cause rays of multi coloured light, this light can create some interesting effects but if not the desired effect the sun must not directly sine onto the pinhole.  

Arnos Vale Cemetery War Graves:

Arnos vale is a large victorian cemetery on the outer fringes of Bristol, the site is the place of rest and remembrance to over 300'000 of residents as a garden cemetery of all walks of life, It opened at the beginning of the victorian era where it prospered until the site started to get overgrown & fall into disrepair, by 1980 the crematorium and cemetery grounds ceased trade.

Background On Sight & War Graves:

Arnos Vale is the memorial ground to over 600 fighting units from international conflicts Like the great war, WW2 to the Troubles & memorials to conflict as recent as Afghanistan.

War Grave Locations:

Soldier's corner
Crematorium memorial
Sailors Corner & the cross of sacrifice
Top Plateau & Carriage Path
The war graves map

Thought process when thinking of how to depict the graves as subjects in photographs:

who: who was the serviceman?
what: what was his role?
when: when was he born to his death?
where: where did he die & where does his grave stand in memorial?
why: why did he die?

Also include:

Narrative
Composition
Environment
The History

(remember note map on greaves & people)

Image selection brief

Best Selection Images: most of the better images from over the three days at Arnos Vale

about 400+ Images were taken, these are potential final Images:

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Achieving 2X exposure using long exposure pinhole

To create a x2 exposed image using a single pinhole exposure:

set the camera to more than twice the necessary exposure & proceed to point and shoot at the first subject, after the time of the first exposure cover the pinhole from light with ones hand or finger then after pointing the camera towards the next subject allow it to expose properly, this will give a digital pinhole 2x exposure.    

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There is a narrative behind the final images, including symbolism & possible interpretations and I also had to keep in mind techniques & thought process in composing & creating the images.

Initial Photo selection:

For this stage in the project I was expected to choose and edit 5 images to move into the selection phase for the exhibition where Marko & Alan chose the final images of the selection to be put into sequence:

Personal statement on images, This project was a exploration in ways to create images that give an essence of the Impacts of the Great War with implications to the effects of loss & of the passage of time. This project will hopefully also act as an educational lesson I History concerning the wars & battles with their far reaching effects, while also acting as a lesson regarding Religion & Philosophy. I feel learning family history is one of the most interesting & important parts of history, it is truly sobering see the story extent of damage done from a name being carved on a memorial, the loss of one man and the impacts that affected his family & friends, his community and to a greater extent his country.

Ethereal Airman

Unedited

Forgotten Trooper

Unedited

Pilot Ascending

Unedited

Lost to Tranquillity

Edited Image

Unedited

Into Unconscious Darkness

Edited Image

Unedited

Sleeping Sailor

Edited Image

Unedited

Shadows of Remembrance

Edited Image

Unedited

War Boys

Edited Image

Unedited

Salute of the Fallen

Edited Image

Unedited

Glowing Lights 

Edited Image

Unedited

Smoke: Cold Memories/Oblivion

Edited Images

Unedited

other unused edited Images:

Remembrance

sleeping stone

Both Edited Image

editing the sets of images:

Instructions & notes on editing process

The exhibition announcement

Feedback:


Group Artist statement project plan:

Final Exhibition at Bristol Cathedral:

The Exhibition: active from the 10th to the 17th October

A panel contained the groups personal statement 

the exhibition was arranged in a sequence over six panels 

To announce the exhibition a news piece was created overviewing the exhibition while commemorating the somes forgotten war graves. 

Fellow student Kyra Pipkin in midst of being interviewed

Myself being interviewed for the coverage of the exhibition

The televised coverage of the gallery

Recorded By Alan Drew & posted online by Mark Hoare

Myself, Marco & my fellow student Kyra Pipkin were interviewed to give an overview of the exhibition and give our perspectives on what we ad done regarding method and of what we brought from the experience learning & photographing the war greaves at Arnos Vale Cemetery.

The Private Viewing of the "Testament of Youth" Gallery

Drinks & Nibbles were provided

those present looking at the exhibition 

Parents & family were also invited (My Pops on the bench)

the wing of the cathedral in use for the exhibition

light a candle with a donation as a sign of respect

Alan,exhibition patrons & members of CWGC

selection of beverage ... or what's left of them

Marko Dutka at the Gallery Private Day

Shrouds of the somme on college green

19'240 model shrouds were placed on college green to commemorate 100 years since the Somme, representing the men who died on the first day of the battle of the somme in the Autumn 1916

Living Memory Project:
 Canadian records & reception building at Brookwood Commonwealth Cemetery

On friday the 18th of november a small group of students from city of bristol myself included went to attend a assembly & celebration of the actions of those who participated in the living memory project up & down the country, Brookwood Commonwealth Cemetery was the venue for this occasion due to its historic importance and proximity to London.

CWGC description of the projects on display on the day

"...today you can see some of these inspiring projects in action including Shorncliffe Lanterns, Royal Scottish Pipe Bands performance of their Living emory lament, the Testament of Youth photography exhibition taken by the City of Bristol College with Marko Dutka, Living Memory exhibition taken from Oxford University Globalising and Localising the Great War Programme with Sixty-Six Men of Grandpont and Botley Women's Institute."  

Marko setting up the testament to youth gallery at Brookwood

posterity interviews were conducted for each project, I representer the Testament to Youth project

Brookwood commonwealth cemetery

Map:

Befor the Living memory project reception we were toured around the cemetery 

CWGC Living memory project Presentation: 

The Program
Start: 3:15PM

Opening Performance: Chepstow Singing Club

Words of welcome: Victoria Wallace, Director General CWGC

The Living Memory Project - the ambition: Colin Kerr, Director CWGC

Casualties of the Somme in the British Isles: Dr Glyn Prysor, Lead Historian CWGC

Living Memory Video: a celebration of Living Memory

Living Memory Projects - the communities: Dr Virginia Crompton, CEO Big ideas Company in conversation with Roydon Branch of the Women's Institute and the London Borough of Havering

Living Memory, Dunbartonshire: Presentation by Paul Hamilton

Friends of West Norwood Cemetery: Presentation by Rose Fenn

St Michael's Youth Project: Presentation by Patrick Mckay

Closing Statement: Sir Tim Laurence, Vice-Chairman CWGC

ACT of REMEMBRANCE
Assembling outside to follow Piper Ian Burrows of The Royal Scottish Pipe Band Association of Northern Ireland, to the Brookwood 1914-1918 Memorial where we lay 141 lanterns.
The act of remembrance included a reading by chris Shaw of the Shorncliffe Trust and the Chepstow singing club's unique rendition of The Last Post followed by a 2 minutes remembrance in silence before a thanks and farewell from the staff of the CWGC.

Display showing the projects by different groups with the top two images being related to Our Project

<Marco & Alan>

Chepstow singing club

The Talks of the CWGC & presentations of the Living Memory Project Participants
(Presentation by Patrick Mckay)

Talks of Sir Tim Laurence

Sir Tim handing out Certificates for the participating Communities

Our charming lecturer and representative for Bristol college Alan receiving our Certificates with a handshake from Sir Tim

The lantern procession 

Official CWGC Images from Event at Brookwood

Receiving Certificates with congrations from Lee, Principal of City of Bristol College

http://www.cityofbristol.ac.uk/news/students-receive-royal-stamp-of-approval/

City of Bristol College photography students were recognised at an awards ceremony in London for their involvement in Living Memory, a 141 day project from the Commonwealth War Graves Commission that mirrors the duration of the Battle of the Somme.

Over 200 community groups from across the UK took part in the project, including schools, libraries, sport clubs and colleges. As part of the event, the group of Extended Diploma in Photography students created images from First World War graves at Arnos Vale Cemetery.

A special event was held at Brookwood Military Cemetery to mark the end of the 141 days of the Battle of the Somme. Community groups from across the UK who had taken part in the Living Memory project this year were invited to come together, share their experiences and celebrate their achievements. Students were able to meet Vice Admiral Sir Tim Lawrence, husband to Princess Anne, and discuss their project and experiences.

College student Clifford Bancroft commented: "It was challenging to gain an essence of who the people were through their graves. It was a privilege to be involved in such an emotional powerful commemorative event."

Photography students were given recognition certificates from the Living Memory project by Principal Lee Probert at a College celebration event.

Principal said: "I’m delighted to be able to recognise the excellent work our students have achieved. These are powerful images reminding us of the impact of that moment in our history and are a fitting way to commemorate the lives and memories of those who gave their lives."

Arnos vale, CWWGC, Living Memory Project evaluation

Analysis/ evaluation of task (Images By Marco)

I have learnt and done a lot during the duration of this task, from learning new skill and different photographic formats in regards to digital photograph and in terms of compositions techniques to a closer respect and understanding to a very important chapter of history in the making of the modern world. I personally felt I had gained a huge wealth of experiences & knowledge in in transferable skills and in cherishable memories.

those present at the Living memory project event at Brookwood

Testament to Youth Cathedral exhibition

Sir Tim handing the certificates to lecturers Alan

Environmental Portraiture, Animals or Creative Architecture Project II:  We were asked to choose from three subjects to undertake as project two: choices from.

Statement of Intent:

The choice of subjects I have is between environmental portraits, animals and creative architecture, with only one to choose as my final subject. Each subject has massively diverse opportunity for creative imagery & each subject also has a broad archive of previous photographers who have experimented around with the subject.

For the upcoming project I intend to work around the subject of architecture where I will explore the various sub-variants and subjects of architectural photograph & experiment with different ways of approaching a select sub category of architecture. The sub category I have chosen to look into is coastal or waterside based architecture with consideration of classic & modern architecture. The Location of focus I Portishead, in particular the Portishead Marina Estates which is a modern development on top of what was a power station which was demolished in 1992. The history of the brown field site and what it has become is interesting for that a industrial complex has been replaced with what could be called desirable modern housing, these buildings that have replaced the old building are built with a level of manufactured individuality to make up for the claustrophobic nature of each estate however this depends depending on which estate on the quay you are one for some areas are more spacious with room while others are completely boxed in with houses & tite streets, one redeeming factor would be the high level of pedestrian & green spaces overall making the environment seem safer and more friendly environment for human habitation.

The GEOGRAPHY of Portishead Port Marina:

Portishead in relation to the local geography and to other towns and cities

the marina in relation to Portishead

The area I will be focusing on is the new housing complexes around the marina which have replaced the power station that once stood there, I will be looking at the building on the south bank which were pre 2007 buildings & also photographing the north bank which are post 2007 building.

types of architecture & architectural photography:


Photographers:

Architectural photographers have focused on capturing every possible aspect of man made structures, a fascination which Talbot himself had with some of the earliest pictures in the 1840's using static subject like buildings to calibrate and experiment with the new & untested medium. Today Architecture has greatly diversified and expanded with the population & so has photography, the medium has greatly evolved with the progression of technique and technology with equipment especially designed for specific genres, for instance the Tilt/shift lens for architectural photography.

Some significant architectural photographers:

Andreas Gursky

Thomas Struth

Aaron Siskind

lewis baltz

influential architects & designers:

Charles-Édouard Janneret

Norman Foster

Portishead marina:

history of site: estate built on derelict brownfield site which was previously occupied by a 1929 coal power station named buildings A Station & B Station:

The Plant was decommissioned in 1982 with the building being demolished in 1992.

the "marina" once used the delivery of coal & oil by ships transitioned from a Harbour to a Quay for privately owned watercraft.

structures:

The area is made up of 3 main estates with the epicenter around the Quay marina, the Quay acts as a divide between the estates on the East & West banks. Each estate has its own definitive architectural styles, most buildings have clear nautical influences while incorporating both national & international architectural influences.

layout:

The layout of the marina is commonly referred to as a rabbit warren with both banks having narrow winding roads with a lot of pedestrian space yet all feeling very enclosed with houses.

ideology & design philosophy:

The site has been created with

The buildings in the marina have been constructed with combining of utilizing all available space, creating a estate created with



Practice coastal Architecture:

when working towards creating a portfolio on the Architecture at portishead marina I initially looked at general British coastal architecture

Clevedon 

the roofs against a backdrop of the severn estuary

the geometric shapes in scaffolding

The architectural details in an old derelict home on the clevedon front

framing the sky and shape in a seaside home

Spotting geometric shape in a post war modernism architecture on the Victorian setting of the Clevedon sea front

the Victorian pier against the backdrop of the sky

the lines and pattern in normal structure

framing the sky in a dark ominous alleyway on the clevedon high street

The variety in shape, structure & style over the clevedons rooftops

back alley structure & leading lines

A garage door with interesting light, shape pattern & texture including other features

Redcliff

the difference between closeup subject and points of interest out of focus in the backdrop 

Bristol harbourside

A photo incorporating shape in architecture of differing types ad in the shapes of nature

My other unused brief subject Animal Photography 

Planning the shoot and understanding variables:

equipment
I knew that I would need a Tripod, sometimes I will need to use flash, generally small aperture/large DOF images, longer shutter speeds. Usually would use a prime lens.

H&S.
I need to have a spatial awareness when using a tripod, and to ensure that anyone in close proximity within an image should be informed of what I was doing.

Weather.
Weather would play an important role in making the images, checking weather conditions before shoots will be very important. Probably long shutter speed at this time of year. Take brolly to protect camera from rain. Know where the sun rises and sets before I plan to make images.

Geography.
Having a plan of what is in store will be important, the lay of the land and what to expect will all be included in planning. If out in remote areas I need to inform someone of where I will be and report back on return.
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The First Photo Session took place on a cold & frosty morning which started off sunny however fog ended up rolling in off the estuary to engulf the port marina, During this first session I took a total of 302 photographs, here is a selection of some of the ones I like, but I still need to edit down to a workable amount.

Session one Overview: during this session I focused on creating images with a level of uncertainty, atmosphere, mystery by working with the fog to create such identifiable interests. Due to the unplanned nature of the descending mist ment that the first session became more of a improvised shoot since my previous plan of capturing full photos of buildings and quay geometric shapes, colour, texture & use of reflection had been compromised by the sheer thickness of the fog and by the flatness of the light, how ever I did manage to capture a large number of close up or scaled down images based on the old session plan however the pre planned landscape photos of the quayside now we're atmospheric shots since at a distance all that could be seen through the fog is indistinguishable shapes & silhouettes which leave a lot to the imagination, in other words it truly makes you thing, the mystery of what's out there is insatiable.

The Second Photo Session was a cool flat light day but I still managed to take 841 photos, the following selection are either noteworthy in some way or are worth explaining, cutting down over 800 images meant that many good photos didn't make the cut but I'm not selecting images based on technical competence alone, the relevance to the brief & final sequence of only 12 images are what truly matters for the end goal of the project.

Session Two Overview:  the second day was not as cold & lacked the fog however the heavy cloud cover left the light incredibly flat meaning photographic conditions were far from ideal however the day was clear enough from mist to allow me to carry out the full plan from the day prior. I spent far longer out at the marina meaning I was able to start off where I left off and explore the rest of the previous day's location while being able to photograph the opposite bank of the quay as planned. I did far more exploring in general for the second day covering locations all round the quay and in turn I came across a greater variety of buildings in varying architectural styles.


Edited images (experimental / Lecturer Edits)

layered, one Monochrome tones while other cold filtered to bring out blue mist in the glass

image straitened and monochromed to tonal range

Image Colour Invertion

Final images:

Architectural

Abstract

project conclusion

Past/ Creating photographs on the concept of the word PAST 

For this task we were expected to take photographs of a vague subject task which in this case was "photographing Past", not "The Past" as in Noun or any other grammar specifics, just the plain word "Past" & we were expected to interpret this task in any way we could think of.  

Past is a word which is defined with many nuances & discernible meanings, past can refer to a passing event gone by in time and no longer existing (Past as Adjective), however past can be used to describe History of a subject or subjects & of history in general when finding objects relating in abstract form of imagery, an example of such image would be a large pile of shoes in a black & white image may envoke an emotional response based on their understanding world war history, in this particular instance would be the holocaust and the piles of shoes displayed at such concentration camps like Auschwitz, The belongings of lost people however in said metaphorical image the shoes could be the lost while invoking these same connections in the eye of the beholder. 

Past definition's: 
Former
Post
Ethereal 
Absence 
Obsolete
Preceded  
Remote


Photographer

Images

Antique chair

the seat seems well worn

Remembrance cabinet

names of people long since passed

Sun & shadow

The sun at its height in an Autumn day

The River Bank

Tides out & the mud is exposed

Roots & Rest

A grave, overgrown with Ivy & roots

Passenger Less Journey 

empty public transit

Light & Motion

street lights photograph with long exposure while at high speeds in a car

Antiquey

An old seat in an old building highlighted for sun through the window

Pub Banter on the Quay

Glasses left behind from drinks between mates

A moment of rest and reflection

An empty bench in the afternoon sun

A Clear Carpark

customers and staff have gone home for the evening

Precipitation

Droplets of water on a steel table

sun & stairs

sun shining on an empty stairwell

Framing

a long exposed image of a mirror being zoomed

Light & Speed

a car dashboard speedometer & fuel gage photographed with longer shutter

history in light

photograph of the stars in the sky

Void

the empty car park

Street Light

photographing lamps while on the move with longer shutter

Undergrowth Memorial

a forgotten grave illuminated in drops of sunshine through the canopy

UFO Illuminations

a plane & a dark place photographed with a 30 sec shutter

The rested

a bench by the harbour

Free Parking

"It was full this morning"

Freezing Light

long exposure of a light & night sky

Light Painting

extended shutter of lights while running at a swift pace

Dock Ducks

Duck leaving foot trails in the mud in a harbour at low tide

No Occupants

All alone on an empty bus

stretching light

zooming in on light source which is a company logo

Mud & colour

a Rainbow at low tide

the passing green

deciduous trees photosynthesising in the sun's warmth

Each photo incorporates the past or of passing in some form froze as a photographic time capsule, some are photos of history or of things that are considered as archaeology or antiquity while others demonstrate time's passage embodied in photographic form, time captured from its 5th dimension, as time acts upon you with no physical manifestation however its passage leads to changes in the fourth dimension of perceived reality.

The term past can be interpreted for this image in both forward and in abstract ways, for one the photo shows the passage of time in each stage of the zoom during the photos exposure while also being 

Essay 800 word

• 800 word Research essay on specialist fields of location photography.
• Six to eight photographs for the two themes, (Documentary Mandatory)
mounted for presentation.
Architecture (include others in sub areas portrait/ industrial) & Documentary (combine importance of subjects)


You are expected to investigate both historical and contemporary practice in location
photography and to include leading photographers, their images and their influences.
Evidence required for assessment:

Location Photography is a very diverse genre of photography which involves almost everything photography and has no clear definition but the location seems to refer to an existing place which unlike studio photography is for the most part constant where instead of the studio photographer creating the environment themselves, they instead are the observer capturing their observations. A studio however is a photographer's personalisable controlled environment where lighting and location can be made to emulate a myriad of environments however in some cases the studio is used as the location but this is when the studio is its own environment as itself. The best way to define location in location photography seems to be a literal translation of location as a place or venue which you could travel to being it an indoor or outdoor venue. As said befor Location Photography is a diverse subject with a broad number of genres with many sub-genres with each giving a plethora of options for creativity which can be applied in many different ways be it Artistic or for Commercial use.

Architecture is a genre of location photography which allows for a flexible & creative subjects which are for the most part at ease to access, architecture is everywhere and allows for an almost literal infinite photographic possibilities, from different architectural styles and all it entails to historic architecture, industrial architecture and much much more.

Architecture has interested photographers since the days when Talbot pioneered the medium of photography in the nineteenth century. Finding interesting ways to capture and compose built environments has proven as a rich genre for creativity on which many photographers have focused their professions on developing techniques and a pioneering their own sub-genres with focuses on architectural photograph which could focus on both the interior and exteriors of man made structures.

The equipment of a architectural photographer would consist of a tripod as standard with the possible use of additional lighting and a variety of lenses from a standard zoom, wide angle or even a fish eye lens however architectural photographers have a specialist lens in their arsenals know as a tilt-shift lens which allows for shooting large objects proper perspective by shifting the lens & the mirrors layout to a standard lens. An architectural photographer is only limited by the ability to access areas of architecture, though since architecture is all around and foremost an urban place is a bus ride away, architecture is never no short supply. Architecture photographers can work with planning or with spontaneous shoots of what is viewed when walking around but the best architectural photographers are able to convey strong emotions in their images when they plan a series of images around a brief or a single location.

Travel Photography can be an exciting genre of photography to pursue. One needs to have experience of travel and holidays generally, but in essence the photographer needs to create images that sell the world. Commercially most work will come from Travel companies and the work would most probably be used in brochures and advertising. Sometimes the photographer may undertake personal work and create postcards or calendars with their own images. 

Equipment could be quite minimal as the photographer would spend much of his time travelling so light equipment is essential. Equipment would most certainly include a selection of Prime and zoom lenses, also essential is a tripod as some images will be made in the evening or at night. A flash unit would be required for evening events that need to be captured.

The photographer would have varying approaches to his work, some days he could spend making landscapes of beautiful scenes while other days may be spent documenting hotel events and day trips for holiday makers. Each has its own approach. 

If the photographer is working for himself the they would be most likely to be travelling independently, creating images of their own experiences. With this in mind one would imagine that a certain amount of planning would be involved, knowing what events may lye ahead is important, festivals and parties, special scenes at certain times of year are a mecca for travellers, Mecca, The Taj Mahal, Migrations of animals etc. The photographer would generally travel as a photographer and not as a holidaymaker.

Documentary photography is very close to travel photography in that the photographer is either working for a commissioner or for him/herself. Newspapers and Magazines generally engage self employed photographers to create the images they want. Documentary is traditionally known as simply recording an event, this may range from fashion to news events at home or War abroad, in each case the photographer need to be involved in the subject.

Equipment needs to be very minimal, lightweight and easily carried as most documentary photographers need to move quickly to follow fast moving action. Equipment would include Prime and zoom lenses, an occasional tripod (though not often) definitely flash units, lots of large memory flash/compact flash cards,, also a Laptop is a necessity, as most documentary news images need to be wired back to the commissioner immediately.

UNIT 30 Location: Evaluation

Over the course of location unit 30 I have delved greatly into the subject of the meanings of the term "location" in terms of photography. As part of this unit I covered the nuances and importance of colour in the ways colour can impact on the viewer and on the fundamentals of its universal uses including in colours creation and use in both print and digital mediums. I also covered the topic of translating possible word definitions into photographic representations, for this we were given the word past and we translated this word as we saw fit. In another project I became familiar with planning for an outdoor & adapting when faced rapidly changing and unideal conditions. For the main task of this unit we were commissioned a brief in conjunction with an external body to create a series of images related to the brief, It so happened that the "commonwealth war graves commision" were organising events across the country to commemorate the forgotten soldiers on the centenary of the great war and the battle of the somme. For this project we spent large amounts of time at arnos vale cemetery with the intent to photograph war graves using a digital pin hole format on our cameras to replicate the style of photography of the time, or at least give an emotional essence to imply the history of the subjects, to enhance such effect I became far more familiar with functions of photoshop & when interviewed for the overview of the exhibition learnt a level of confidence in the face of extreme anxiety.  Overall I feel I have gained a greater understanding of photography and its nuanced relations with location & I also have gained many translatable skills that I can use in a wide array of applications.



Memos:

Hi Cliff.

I have marked your Location work. This is what I have written on your grade sheet.

19th Dec: Cliff. You need to do some things to confirm your grade: Please take off of your blog all the lists of things you use as reminders, and also the reminder of work required that I wrote. Please write about the difference between CMYK and RGB (where is each used?) Please add Evaluation of Living Memory Project. Your 800 Essay needs to be finished and illustrations added. Ultimately Cliff you have carried out some very extensive work, well documented and great photographs and that is why you are here at college, well done. Your blog needs some tidying as listed above but a super piece of work nevertheless. Your involvement in The Living Project was central to its success. Distinction...

Regards, and have a very Happy Christmas and New Year.

Alan.

Alan Drew
Lecturer

Research
Produce an 800 word illustrated research essay on a range of specialist areas of
location photography; this is to include at least four from the following list:

Architecture, Social, Travel, Industrial, Documentary, Sport,
Portraiture, Reportage.

Your notes should include:

The differences between the specialist areas listed above (and
others you may think of).

Comparisons with studio photography.

Specialist techniques.

Specialist equipment.

Health & safety.

Photos included

https://www.smashingmaga
zine.com/2010/07/the-showcase-of-beautiful-pinhole-photography/
http://chriskeeney.com/portfolio/about-chris-keeney/
https://arnosvale.org.uk/discover/heritage/war-graves/
https://www.forces-war-records.co.uk/

http://www.bbc.co.uk/bristol/content/image_galleries/portishead_2008_gallery.shtml
http://www.bristolpost.co.uk/boom-town-portishead-just-dormitory-bristol/story-21744324-detail/story.html