After so much thinking, researching and scrolling through my images, I noticed some particular photographs during my environment practice shoot which could be useful for an environmental project that I decided to name “Gone with the Wind”. When I was little my family would take me to an amusement park in Folkestone called the Rotunda, the park contained an amusement dome which was my key reason to visit the place since the dome was the most popular feature of the entire amusement area, The Rotunda was once a place of joy.
But then there was The Demolition of the Rotunda
The Demolition commenced in 2002 and finished its deconstruction in 2007, the park was sold for a multi million pound seafront development. Once a place that filled people’s hearts with joy and excitement and currently a place of desolation without a heartbeat. The photographs reference Folkestone’s past, with its aspects being placed in the abandoned area of the town on a circle shaped place of stones and soil which would be the remains of the amusement dome, this is an expression to this depressing change of The Rotunda. The colourful aspects in these photographs reflect past times of the amusement park that now are lonely objects remaining like tombstones of remembrance within the photography.
These images were my 4 favourite images in the first shoot as a starting point along with some black and white editing. The black and white with the remaining colours was a development towards the project’s visual references and my personal expressions when viewing this area.
This rough looking circle is the remains of the amusement dome which was also the area where i placed my items (the balloons, coconuts and deck chair) in between the long pole on the right and a bin. The link above shows some photographs of the amusement park in its heyday while this photograph shows the desolate remains in black and white which expresses my feelings when looking at the dead area.
This is another photograph of the area, with me this time standing beside the circular pile of soil capturing other parts of the dead amusement park that clearly looks like an unknown or a forgotten place.
My first setup of the aspects that show their remembrance to this former entertaining part of town, was some coconuts being placed on some rusty poles wrapped with wire that created the cups to hold them into place making the layout look like a coconut shy inside this graveyard of an area. The coconuts themselves are in colour which are the key points that reference the history of the town’s amusement park.
This deck chair unlike the coconuts look less like a sculptured piece of artwork and more like a still life piece of artwork that expresses that same remembrance. I thought the colours reminded me of the amusement park since the atmosphere there was as colourful as a rainbow. The colours represent that past excitement.
This was my favourite photograph out of my entire development since the balloons in my opinion along with the background tell most of this emotional story that provokes both my thoughts and feelings about The Rotunda amusement park with the mixture of the negative black and white and bright colours of the birthday balloons.
The photography of Lewis Baltz and Robert Adams
John Hinde’s pictures depict some of the nation’s best loved domestic holiday destinations during the 1960s and 70s. Setting up John Hinde Limited, he trained a studio of photographers; David Noble, Joan Willis, Elmar Ludwig and Edmund Nägele to work meticulously to his style and vision. The studio went on to produce this famous collection of colour photographs which were used as postcards promoting tourism in the UK.
The photographer has been well known for his photographs in Butlins holiday camps, Hinde’s postcards not only provide a valuable documentation of the Butlin’s phenomenon, but an account of the rise of leisure society in post war Britain. Set apart from the more romantic, black and white documentary images of Britain at that time, these images have been overlooked by the history of photography.
In the 1960s Hinde’s success attracted the attention of Billy Butlin who commissioned him to develop a range of colour postcards of his holiday camps. By 1965 Hinde had given up doing the day-to-day photography himself and was using the young German photographers, Elmar Ludwig and Edmund Nägele, later joined by the British photographer David Noble.
By looking at all my development in this particular project, I was mostly intrigued with these four photographs. My key reasons to choose these images as my final pieces for this project is their subjects, compositions, and colours. These 3 key features are displayed in different productions in each image which shows overall how I as the photographer has developed or practiced with these 3 key features.
The horse for example has its rather afraid expression in its eyes unlike the ducks which bonds with the misty smoke looking clouds as it stares at the hotel. When I look at the other photographs, I notice that the subjects within them are more colourful than the horse since the horse has its colours (despite the eye) of only red white and grey which makes me think a more colourful horse would of brought possibly more attention or to add to the rest of the lot.
The ducks have their surprised facial expressions while sitting on the remains of the amusement dome which would memorise me of my reactions when this dome close down while the horse would express the sadness.
The balloons were taken in my first photo-shoot while the others were taken in the second, this photograph has a different background or space which the balloons lie together unlike the other photographs.
I tried using this particular background to create loneliness within this emotional documentary and I thought the composition was impressive but the foreground needed straightening which I eventually edited, after my printing process, I noticed the first print had an underexposed foreground so I tried adding a filter effect to this image which would make the foreground a little more exposed along with some darkened corners to make the image more dramatic, after the editing and the prints of the picture, I think the final developed image came out extremely well.
I really liked the loneliness feel that the photograph expresses along with the eye drawing colours of the balloons as they stand on the rusty poles which along with the sky brings that loneliness into the picture. However the beach area within this chosen environment of Folkestone can look like any other environment so I could of made this image a little better by using key aspects in the background that relate to the town for some more recognition.
This lollipop photograph was my favourite out of the 4 photographs because it has its interesting colours, creative caterpillar point of view and most importantly its composition, I also liked the clouds in this picture as they look misty and bring some surrealism into the image. I think the circled lollipop symbolises its foreground with its similar shape as the gravel remains of the circled dome and rainbow colours that memorise the happy times in that dome.
In Margate, hundreds of campaigners, including some cast members of the BBC hit comedy Only Fools and Horses, backed the revival of the Dreamland Amusement Park over the last decade. Eventually, an 18 million pound restoration of the amusement park (that originally was built in the 1920s but was forced to close after cheap foreign holidays meant less people were visiting) was made.