EVALUATION

Diagram of Evaluation

What Happened?

As I approached the abandoned environment, I tried taking some photographs of both the circled and other remains of the amusement dome and its park which I found a good starting point for developing the photography, I used a ladder for a more clear shot. Next I used my memory revealing aspects which were coconuts and balloons on rusty stakes. Then I placed a deck chair on the soil that had its similar compositions and colours as the balloons. On the next shoot I brought more aspects or items (teddy bear, wooden horse, lollipop and plastic ducks) I planned to incorporate these items in my images.

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Feelings

When arriving at this chosen environment ready for the shoot, I would still have that same disappointed feeling as I did as a child when witnessing this forgotten part of Folkestone. In the photography process, my feelings would be expressed within the aspects in the remains of the dome. Some aspects were connecting with the weather and foreground and some were communicating with The Burstin Hotel since the hotel was a major connection to the amusements.

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What was good & what was bad?

The aspects I thought worked well were particularly the horse, the ducks, the lollipop and the balloons since they were in my chosen 4 final images. I liked most importantly their bright colours, contrast and compositions since these three reasons were a key importance of making these photographs work visually. What didn’t work out for me was some overexposed skies, underexposed foreground and aspects that didn’t get separated from the middle ground.

Analysis

I felt that it was important to convey to the audience of my location, I was able to include an iconic building in the background, in this case a local hotel. However I wanted to express the emptiness and sadness of the now derelict funfair, I achieved this by showing a featureless landscape. I wanted people to reflect on what was a place of enjoyment and fun against the very contrasting scene of today.

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What else could you have done?

When looking at every image on the contact sheets, I noticed that the objects were taken pretty close up and I could of been much further away from them so then I could possibly capture the gravel remains of the dome circle while the aspects would be placed in it. On reflection, I feel that I could have changed location giving me more opportunities to include other iconic features surrounding the former funfair.

If you arose again what would you do?

If an opportunity to do this shoot again was upon me, then I would try to take more photographs from looking the opposite direction from The Burstin Hotel which was the rest of the empty concrete space that could brought more into my references and amusements symbolism. In addition, I could choose different times of day allowing different light to be captured.

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TIM WALKER and MARK POWER

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After looking at the previous thirteen images, I have decided to choose both the photography of Tim Walker and Mark Power, these images both have their interesting surreal environments and powerful drama in their own creative scenarios.

Tim Walker has his own staged environment that characteristically components with the model that to me has the powerful character of a queen that owns her land which would be the misty background that brings out the striking drama of the scene which is my key reason to be interested in this photograph.

The environment and its aspects in Mark Power’s photograph may not literally be as photogenic as the Vogue photograph, but it does have its strong meanings within a rather deeper scenario than the fashion photograph, closer inspection on the work of Mark Power I think presents a documentary about left out spaces within particular parts of Britain (mainly the outskirts of the city of London) which too interests me mainly because of myself being a British citizen.

In comparison, Tim Walker’s Vogue has honestly in my eyes a rather anonymous place which works for what’s being directed, while Mark Power’s place looks more recognisable since it is not a fantasy style of staging photography like the Vogue photograph.

I could also imagine both of these images being sublime as Tim Walker’s photograph has the facial expression of the woman that looks rather dangerous (like if she doesn’t want anybody messing with her) and Mark Power’s chaotic garage photograph would likely have a response of being rather disgusted which would when the viewer’s being in the area would preferably be avoided.

ROE ETHRIDGE & FRANCESCA WOODMAN

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When inspecting these photographs, I feel the photographers have looked deep into their insides and started establishing their outsides (which was the production of these types of photography). Roe’s image has the women looking very relaxed and calm in comfort while in Francesca’s image, the space looks rather dark and mysterious.

The photograph on the left has its beauty within the flowery dress blending with the red carpet which has a similar colour scheme, the compost has a connection with the flowers on the woman’s dress but not necessarily in a beautiful style like the cosy warm carpet but rather a little bit humorous in terms of the strange idea of using it in the picture, however it narratively adds to the photograph with its little sunflower. The symbolism of this fashion photography in my opinion could be the experience of love since I think the image looks like an imagery of a gentleman’s dream about his crush.

The photograph on the right contains another woman that is hiding her identity and looking agitated in her space unlike the other photograph which overall shows and interesting comparison. The inspiration most likely in my opinion would be the feelings of the photographer over something which would include being shy in the outside world and would stay inside. Roe Ethridge on the other hand has his fine insides that influence him creating his beauty on the outside.

GREGORY CREWDSON

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Gregory Crewdson, an American photographer born in Brooklyn New York 1962, is best known for elaborately staged, surreal scenes of American homes and neighbourhoods that are designed to look like a surreal tableaus of suburban life. In 1985, he received a BA from the State University of New York-Purchase College, where he studied photography.

Gregory would see himself working in an American tradition of artists who explore the intersection between everyday life and theatricality such as Diane Arbus and William Eggleston.

One of Crewdson’s earliest projects was Natural Wonder in 1992 where he constructed thoroughly composed studio sets, using, for instance, stuffed birds and small animals, which follow their own rituals and laws and thus elude human understanding. Gregory placed severed limbs in settings where nature has overrun the human environment and developed an uncontrolled life of its own. His visual vocabulary lies somewhere between a fairy-tale-like romanticism and the classic horror aesthetic.

With this project finished, the photographer continued this contemporary style with extra development by using people and a larger studio (sometimes using its equipment outside). Gregory Crewdson would use a Sinar 8×10 camera with a large film crew.

Above is a chosen image of mine which was one of Gregory Crewdson’s photographs from the Twilight series that features a teenage boy in a bathroom with his hand down the shower’s drain. The photographer’s inspiration to create this photograph was a moment he had when he was younger where his father was a psychoanalyst bringing patients round the house for interviews while Gregory would eavesdrop from upstairs through the floorboards.

I really like this image with its strong storytelling through the brightness of the bathroom and the darkness of the drains down below, my main reason to be inspired by this image, is that when on closer inspection, many metaphors could possibly be imagined (mainly about society in general) such as a human being learning both what to experience and avoid in the world for example. Also in my opinion, the drains down below have a beautiful underwater colour scheme of blue, since the blue tiles still roughly match each other in the photograph’s exposure, this means that their all the same colour that can show that the activity may not necessarily show an image of innocence reaching for the evil. My reason that I think this space may be underwater, is that the boy’s arm reaching in this dark space is looking paler than the rest of the skin up above. This shows possibilities of an underwater drain beneath the surface. Overall, this evidently shows how I would see this favourite aspect in the photograph.

Sources

http://www.the.me/gregory-crewdsons-brief-encounters-in-search-of-a-photographers-few-perfect-moments/

http://www.rogallery.com/Crewdson/Crewdson-bio.html

http://www.hatjecantz.de/gregory-crewdson-5089-1.html

http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1622/Gregory%20Crewdson

http://www.artnet.com/artists/gregory-crewdson/biography

https://www.youtube.com/watch?v=S7CvoTtus34

https://www.youtube.com/watch?v=66B1m2UxRxg

https://www.youtube.com/watch?v=uQy4uiS6iKw

ANNE HARDY

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Anne Hardy, a British artist and photographer born in London 1970 is known for her pieces of artwork related to the British environment that is constructed in her own photography studio in East London. Hardy studied at Cheltenham School of Art & MA in Photography in the Royal College of Art in London.

Her photographs have both a magical and naturalistic quality. The photographs display the vestiges of human storing, ordering and discarding sites where nature begins to creep into dominance as regular human use declines, these spaces also uncover the uneasy relationship between the natural and artificial.

Anne Hardy uses a range of materials from disintegrating objects to natural forms. Hardy’s photographs may start with an object and an idea that instigates her building of the scene, but the final construction develops over time as she imagines upon whom and how the fictional space is used. The photographs stay within a tight range of types of spaces: a storage area, a communal hall and a temporary office. Hardy uses a large format camera.

Anne has shown her work in many exhibitions such as The Maureen Paley in London, The Bellwether Gallery in New York USA and the Federica Schiavo Gallery in Rome Italy.

She see’s East London, where she works with a sense of other things in the environment that have been hidden away. In addition she also described how she sees her photographs in relation to the environment as a fiction that’s about a particular place that people would recognise but not that place being put together in the usual way but it is about that location that they see but it’s one step away.

Above, I have chosen two images by Anne Hardy. These three images stood out to me mainly with their compositions, metaphors and colours.

Untitled IV (Balloons 2005)

Lumber (2003)

UNTITLED IV (BALLOONS): The aspects in this photograph to me are a metaphoric environment towards students that love to party outside of their education, I imagine this reference is mainly because of the room having a chalkboard and a shelf with some objects (that perhaps are gadgets belonging to the teacher) making the area look like a classroom, which has insanely been infested with balloons and banners across the ceiling and floor which has also got a pile of used cigarettes, this entire drama is my reason that I’m interested in this photograph because of its powerful advertisement to environmental wellbeing.

LUMBER: This image contains chaos, but in a slightly different style of staged development because it is only the quantity of the same subject that’s chaos. It has limited items in the image but it still has some thought provoking storytelling. The story that I imagine within this environment is a metaphor of addiction of keeping up to date with popular trends, the reason why I see this, is because of the compositions of both the little tree and the big trees being scattered all over most of the room which is blocking a large amount of space and will probably cause even more trouble once the little tree gets replaced.

More Sources

New Photography in Britain SKIRA Photography book

https://www.youtube.com/watch?v=bqF9OSISPJ4

https://www.youtube.com/watch?v=rSugcQg4jpM

http://www.saatchigallery.com/artists/anne_hardy.htm

http://anne-hardy.co.uk/