Found Photography

This next experiment was literally using found photographs and simply analysing them to not just figure out their reasons of development but also comparing them in terms of the journey of still photographs, on further analysis the pictures reveal their own print qualities as some of the photos were captured back in the 1920s while the others were more advanced with their media technology, so visually the eras have changed throughout the years such as different lenses and construction styles as shown with the photograph of the bridge.





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This workshop was about experimenting with the Canon 5D movie making features, the movie I made with my colleague was a silent film so the camera angles and audio (that occasionally popped up in some scenes) were more essential than the acting by myself. we also added black and white to eerily tell the story of a stolen file or document with the thief being introduced rather anonymously. The idea was first set up on a storyboard with some rough sketches of the story and camera angles of subjects. The movie itself had some pretty interesting camera angles as me and my colleague spent most hours experimenting on them and the choice of clothing by myself represented the detective character very well. The audio in the film was from the video game soundtrack INSIDE which was something I referenced on my Beyond Photography research as an inspiration, there was also a sound effect I used from youtube of what sounded like paper being placed on a table which resembled the book being placed on a library desk.

The Film Storyboard 


My Holiday Shot

During the summer, I and my father went for a visit to The Spitfire and Hurricane Memorial Museum in Manston for the first time since we both were interested in the war history. I came across a dioramic train set which represents the museums history. I decided to take a few photographs of the diorama as its beautiful colours that intrigued me. When looking at this picture, I wasn’t quite witnessing a general picturesque memory, but more of an image containing aspects associated with modelling, paintings and photography. Many medias were seen in this one image along with the real world reflecting off the diorama glass.


Time Lapse

With these two artists in mind along with my colleague, we grabbed a Canon 5D and filmed a time lapse. In this process I thought it would be extra experimental to photograph the panoramic view on the top floor of the university every 2 minutes. Once the time lapse was finished I thought about trying to use google maps as something that I would hope to add towards the development but I didn’t know what to do with the screenshot of the same area that was filmed.

Screenshot of the River Medway and Rochester Town via Google Maps satellite POV



The first time lapse outside the top floor window view of UCA University Rochester 


This black & white time lapse was made by other colleagues 


This version was edited by some other colleagues, the work had a text in the beginning which was talking about something about time and the video was black and white while some calm audio was playing in the background.


Carl Warner 

I remember when I was a little kid picking up some broccoli during dinner imagining it was a tree as my mother would tell me not to play with my food. the artwork of Carl Warner has made food become a reality by collecting tons of food and creating landscapes much like the lighting and studio process of stop motion animated TV entertainment such as Wallace and Gromit in my point of view. I visited the Carl Warner website and watched a video about his projects with food and how he has experimented with them, much like movies he creates a drawing which he would show to his colleagues that would guide him in the studios when setting up the food as something I would see similarly as the diorama in the museum I visited.


Tuscan Landscape by Carl Warner 



John Constable 

The legendary John Constable was well known for his romantic picturesque landscape paintings, when researching the time of painting I came across one of his countryside paintings Stanford Mill 1820, I really loved the warm colour scheme that creates that peaceful moment in time.

Stanford Mill John Constable 1820 


With the interests of these two artists I decided to experiment with their work as pieces of found photography/art using Photoshop, Firstly I simply put John Constable’s image on top of Carl Warner’s image, secondly I tried adding a sound wave shape onto the image to represent the work as an image with a number of different medias or experimentations as I described my diorama photograph. Overall the image was rather messy but yet quite an interesting relationship, next I tried tidying up the image a little by merging the painting with the food which brought out a more creative colour scheme mixture. Lastly I erased the sound wave layer as it started to get too distracting for me so I then changed the position of the Constable painting to also merge with different subjects on the foodscape image such as the buildings in the distance.

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Black Magic Filming

The Black Magic was one of the most technical processes I had ever learned in the university, the set up would take a long time for anyone since the screws need to be in such a accurate position that even a touch of hair can effect the balance of the camera (not literally more like a slight bump), once the camera is perfectly balanced I and my colleagues could carry the camera around the premises, the camera was very heavy but was worth carrying around filming. the videos we filmed involved following someone while their surroundings go past them while the entire film is still since the filter is holding the camera in place of the portable tripod as I would describe it as a beginner.

Photos taken from iPhone 


Virtual and augmented reality

Since I had an exhibition to work on for next year, this workshop was about experimenting with instillation work by using the style of Virtual and Augmented reality that was about creating 360 degree photospheres and augmented reality images using free apps and online programs such as iPad, smartphone or a computer.  These simple programs can be used to create VR viewers and animated images similar to what is seen on photographs and paintings in the popular Harry Potter series regarding animated postcards.

360 degree photos

360 degree image created out of individual images as I turn myself at that angle 


360 degree photo made by me just turning around at that angle 




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.DomeDemolishedClubShepway

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.

DSC_0018 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.

Visual References

The photography of Lewis Baltz and Robert Adams

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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.


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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.



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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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.


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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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.


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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, 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.











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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