A5 Research

eyv a5 vennOne of the areas that has changed the most for me during EYV has been research. I’ve learned to be braver about just starting the work, rather than researching extensively before even picking up the camera. Part of my learning is redefining exactly what research is. It’s not necessarily a search engine inquisition of the internet looking for similar work. It can be exploring tutor suggestions, or just starting the work and figuring out the influences later. I did wonder if I had done any research at all for this work, then remembered the hours spent reading, wondering, and trying things out. Research can be about your influences, but it can also be about testing out gossamer thin threads of logic between things that you think are relevant. Even if I choose not to follow up every artist who’s worked with Polaroid, every Fox Talbot image, every use of a die-cutting machine, I still need the ability and knowledge to place my work in the canon of work that is out there now. I came to the decision that my work is in large a tribute to Fox Talbot but through a vernacular lens – the architecture of his ancient home, captured with a camera typical of the 1970s, processed through a manual system used for die-cutting and embossing that is used as much as a diversion today as watercolours were for Fox Talbot’s family and friends.

Photographing modern day Lacock is by no means unusual and it’s a location that appears in the blogs of several local OCA students, including my own. What I hadn’t seen elsewhere though, was the location photographed with a simpler camera, or a focus on windows, which with their associated frames seem to me to be a very photographic concept and construct. One of the photographs that Fox Talbot is most famous for is the one he made of a window in the south corridor of Lacock Abbey.

Fox Talbot deserves more attention. He is essentially Chapter 1 in most books about the history of photography and it is easy to take him, and his work, for granted. Living just down the road from Lacock Abbey I am also guilty of viewing the ancestral home of British photography as a convenient excursion when the child needs wearing out. Photographing his home with a basic camera gave me some idea of how exciting it must have been for him. Part of this was down to the Polaroid too – for sure, thousands if not millions of photographs are taken at Lacock Abbey every year, but how many of these photographers get to hold their prints in hand, at Lacock, as William and I did? To stand in front of a photographed window, holding its likeness? I do somehow feel as if I understand him, and his legacy, better, as a result of the reading and visiting that I did. I spent some time looking at the Bodlean Library Fox Talbot before photographing, and that helped me to determine what I wanted my Polaroids to “be of”.

Similarly, die-cutting and embossing are very popular techniques with card-making crafters, but I hadn’t seen the techniques applied to photographs, and particularly not to Polaroids, where they allow the exploration of the print, and its integral mini dark-room – as an object. Finally – Polaroid emulsion lifts – again a well-used technique in the field of Polaroid manipulation, but I wanted to explore the link between this fragile, elastic translucent image and the window that it represented. Could I get a Polaroid of a window to actually be see through? Could I mount it in a transparent medium?

I did a fair bit of exploration. I think my key research was looking at the work of Fox Talbot on the Bodleian website, the Fox Talbot Photography Museum and in visits to the Abbey, repeatedly taking Polaroids in colour, in black and white, of everything, of the windows, with people and without people. I talked to the volunteers, taped over the flash on my Polaroid, talked to them again, and kept going. I looked at calotypes, I tried making some ( with the slightly discouraging result that the best ones were of my pants). I drew encouragement from everyone who looked at my Polaroids and said they looked like old photographs (rather than modern photographs of something old).

I read OCA DIC student Stephanie d’Hupert’s critical essay on images as objects. Her work embraces the print, the physical, the old, the cherished, the broken and the repaired. You can see the assignment that bewitched me here – https://stephaniedhlearninglog5.wordpress.com/category/assignment-2/assignment-2-si-tu-veux-que-je-taime/.  Her essay can be read here –  https://stephaniedhlearninglog5.wordpress.com/2017/05/05/assignment-3-critical-essay/ I also followed fellow EYV student Alan’s exploration with a found suitcase full of found images the suitcase.  Again, he was inspired to explore both fronts and backs of the prints, despite being completely unfamiliar with both the context and content of this case of prints. Finally, I looked at Anna Goodchild’s experiments with Polaroid print., where she manipulated them in her work about prisons. You can see some of her trial prints on the OCA discussion board here Despite us both working with Polaroid 600 prints and manipulating them, the results are very different.

I collected all the Polaroids that I was happy to sacrifice and tried out techniques on them, varying the film type, the colour, the age of the print, the shape, the pressure….

I discovered the heartbreaking story of the Polaroid collection – around 1200 images by esteemed artists that were auctioned following the conviction of Tom Petters with large-scale fraud. He had “rescued” Polaroid from an earlier bankruptcy but then used it as a front company for a £2.4billion Ponzi style fraud. He was jailed in 2010 for 50 years, Polaroid went bankrupt again, and the creditors moved in. Artists had often donated work to Polaroid in exchange for film, on the understanding that the works would be maintained as a collection but sadly this was not honoured and the works were sold, despite many believing that the works were not actually the collection’s to sell. You can read a summary here and there’s a detailed set of blog posts on A.D. Coleman’s blog here.

The physical side of the work took some research. The embossing work was all hands-on experimentation. I found various tutorials online on emulsion lifts and accordion spine books, but was still inexplicably nervous about trying out the spine (it was  still untried as I drafted this blog post, some seven days before the work was due to be with my tutor). Recommendations and suggestions were made on the OCA forum, which I followed up. I bought a discounted book on different things to do with Polaroid prints, which punched way above its not insignificant weight and got me thinking that experimenting with Polaroids really is nothing new. Somehow, that was comforting. Much of what I wanted to do didn’t seem to come up in my research, from embossing a Polaroid to using the film carton to make a book outer. It’s unlikely that I’m the first person doing these things, but it does seem to be the case that I’m the first person documenting the work on the searchable internet.

Other influences are still formative. My tutor has spoken twice to me about Walter Benjamin’s writings on the aura. This is the idea that mass production of a work somehow destroys its essence, its one-ness, it’s specialness. Perhaps Benjamin didn’t think this was a bad thing. I’m still undecided, if mass production destroyed the emotive wrench of an image then surely there would be no reason for charities, for campaign groups, for press to use photographers? I do however agree with his comment about how subject matter, in art, can be a ballast that you discard “during contemplation” (Benjamin, 1979 p66-67 cited Campion in (Berg and Gronert, 2011)). I wanted the use of Fox Talbot’s windows to be a simple jumping-off point for my work, something that provided a relevant and cohesive theme that viewers can use to access the work, then make their own explorations, circling back to the familiar if needed. Then there’s Barthes’ Camera Lucida, and his comments that you can’t deconstruct a photograph. “The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive….”  (2000, p6).  Clearly you can separate the leaves of a Polaroid, separating out to the negative, the emulsion, the transparent mylar and the strips that form the borders. Separating them does destroy the unit, but I think the component parts take on their own meanings even when separated. Similarly, I would disagree with him on his view of Polaroids. “Polaroid? Fun, but disappointing, except when a great photographer is involved.” (2000, p9).

References and bibliography

Barthes, R. and Howard, R. (2000). Camera Lucida. 1st ed. London: Vintage Books.
Benjamin, W. and Underwood, J. (2008). The work of art in the age of mechanical reproduction. London: Penguin Books Ltd.
Berg, S. and Gronert, S. (2011). Through the looking brain. 1st ed. Ostfildern: Hatje Cantz.
Cotton, C. (2015). Photography is magic. New York: Aperture.
The Impossible Project, Kelnreiter, M (2012) . 101 ways to do something impossible. Germany: The Impossible Project.



A4 development notes

This post will be updated as I work through A4. It is based on exercise 4.3 for which I photographed a red telephone box in Calne.

I used an OS map to identify phone boxes and then did daylight recces to check that the box was still there and the light working. Actual shots were fitted in with normal commitments where possible or otherwise I would just pop out at night with my tripod and remote release. I kept notes as I went and uploaded photographs to lightroom as I went.

Here’s a cut and paste from my box log on Evernote.

15/2 Bigbury bay, overgrown. mobile & camera
17/2 Calne precinct, double boxes, one unlit, mobile & camera. Panned shot. There is another box just off the main road, on the right, by the pub.
17/2 Facebook post
18/2 Avebury Trusloe, at the end of a drive, phone, lit
18/2 Avebury – by the Henge Shop, phone, lit, machine behind
18/2 Rushall (parking at village hall), information booth, not checked
18/2 – garage at the roundabout on the way to Pewsey, not checked Turning off the side road.
18/2 – on right as you go into Pewsey, information booth, lit, no obstructions.
18/2 -note from Holly – Wroughton, opposite pub, phone box also food bank
18/2 Lacock – past post office – phone booth but out of order, broken receiver. Ironic given conservation status of village.
19/2 Layby on the road from Chippenham near the garage, just before the turning to Bowood/Rowde Lit vandalised but well located.
21/2 Marlborough bottom end of High Street, different light but good condition and not too obstructed. By PO has no light. On A4 has no light. Photos taken of High St one.
22/2 journey to Corsham and back. One just past the Harp & Moon pub, in a layby. One in a layby near Corsham? One at the end of a garden near Corsham Court. There might be more in Corsham itself, check on Tuesday evening.
23/2 Bath (daytime recce). Most boxes are replicas with no phone and no light. No point in photographing them for this set.
23/2 One by Coconut restaurant not lit. One by the caravan turning/pub well lit and good location
24/2 Chippenham station, well lit, good location, see separate note with image
28/2 Photographed the Corsham phone box near Corsham Court. Others had failed lights. Good shots of top panels and trippy motion.
1/3 Photographed the Bishop Cannings box. It’s pending removal. Pouring rain, full darkness needed hi-vis in dark layby. Unsuccessful photo showing rain, but insect shot was good.
2/3 there is a national telehone kiosk collection at Bromsgrove. Need to email and ask for light details.
3/3  White Hart Calne – good. smeared glass reflected light better. Reshoot moss and Follow On Call button?
6/3 Bowood layby – images not good, road too busy, layby too busy, box overgrown, couldn’t open the box door.
6/3 One by the caravan/pub turning – got there to shoot but realised there was no phone in there even though the light was working (it’s normally the other way round…)
11/3 – conversation with Andrew Hurley of the National Telephone Kiosk Collection about phone lighting. urls are http://www.avoncroft.org.uk/


Options are to take straight shots of box in landscape, to consider the differing uses of phoneboxes eg phone, tourist information, defibrillator, mini library (appealing but a bit Sunday supplement) or to abstract/macro slightly and concentrate on the light and the box itself. This latter is the one appeals, but I will take landscape type shots as well.

Need to get all the shots before the clocks change. Need to get lots of shots (see A3 feedback), need to remember hi-vis and sturdy shoes for layby shots.

Start looking at research. There was less research for this one, compared to what I’ve done for earlier assignments. Most people know what a phone box is, especially those who grew up with them. Also, the Nick Turpin work on night buses gave me a very clear idea on what feel I wanted the final images to have, and I honestly didn’t feel as if I needed much else, or if adding more research would improve the final work.

I decided to concentrate on functional red boxes that contained both a working phone and a working light. I photographed details, not landscapes. I wanted to emphasise the light, the red. It became apparent that there’s an ecosystem supported by many boxes – insects, snails, mosses, weeds, brambles, strange green things growing through the paint on the inside of the ceiling. One evening shoot was a complete write-off – the first, beautifully lit box had no phone inside and therefore didn’t meet my criteria, and the second, in a layby/bus-stop on a busy road was over-lit from the traffic. The door had jammed shut and the photos just didn’t work.

About 3/4 of the way through photographing boxes I put a draft set of images up on both my blog and the OCA critique board. I took the comments on board, reshot some images, and decided in some cases to keep the original or at least not change it much. I removed one image that a tutor said reminded him of amateur work. After reviewing my newer work I returned to contact sheets of early shoots and found some images that I thought would work better. Reshooting is actually quite hard – there are different kinds of dark, and the red paint can turn orange or purple at the wrong time. Plus it never seemed to be raining when I needed it too. I’m trying to resist the temptation to over-do this work, it is so delicate and fragile and the set is easily unbalanced with too heavy a touch.

George Tice – link provided on OCA board – mono image of an isolated illuminated box in New Jersey. So beautiful but hard to reproduce here – so much clutter and street lighting around boxes. Layby box could work but would have to be late as the road is so busy there.

I emailed the Avoncroft museum who house the National Telephone Kiosk Collection and asked if they could put me in touch with anyone who could answer some questions on the lighting in boxes. They were very helpful and put me in touch with Andrew Hurley of the Collection who was kind enough to answer my questions over the phone. I was keen to get a bit of background information about the light and the boxes.

My selection process is still something I need to work on. I tend to work in lightroom, flagging the images I want to consider, then using a combination of star ratings and tags to narrow the selection down.



A1 followup – photographers to research for A2

My A1 feedback suggested that I research the following photographers for Assignment 2:

  • Philip Lorca di Corcia (Heads)
  • Joel Meyerowitz
  • Gary Winogrand
  • Peter Funch
  • Andreas Gursky
  • Massimo Vitali

It did take me a while to get down to this research, I suppose partly because I already had a fairly clear idea of the research that I wanted to do for A2 and it didn’t overlap with this list very much/at all. I had also previously done some reading around di Corcia and Gursky for the Foundation course. I found it interesting that the list comprises only male photographers. I found it fascinating to see the links between these photographers, their work had more in common than I expected and I have tried to detail the links below.

I am struggling with my tutor’s comment that I should include more thumbnail images of research images and the fact that I keep reading about Getty Images invoicing individual blog holders and website owners for the use of images. I have not yet decided what, if anything, to do, so I have linked here to images on my Pinterest board or on the Photographer’s own website where possible. Getty have an agreement with Pinterest whereby money from Pinterest is used to compensate photographers whose work is Pinned there.

Philip Lorca di Corcia series “Heads” is a selection of 17 images from over 3000 photographs taken. He used scaffolding to support a remote controlled flash in Times Square New York and took the photographs from about 20 feet away with a telephoto lens. There was no setting up of the shots, no engaging with the subject. His work is cinematic, and shows the city through its inhabitants. He was sued by one of the subjects, who complained about his image being used for profit and publicity without his consent. The judge found in favour of di Corcia, saying that the art could not have been constructed had the subjects been aware. I do like this set, there’s a real theatricality to it and they do look to me like actors’ head shots, as if these ordinary citizens are literally playing their roles in the city. My favourite is the lady in the rainhat, I like the texture of the fabric, the way the light falls on it and the way you can tell what the weather is, even in the dark.

Joel Meyerowitz and Gary Winogrand were the two photographers that I found it hardest to engage with, and I’m not entirely sure why. They are both iconic practitioners of street photography, they often walked the city streets together and both demonstrated their skill over decades. I can’t dispute their technical or creative excellence yet I struggled to see a relevance in many of the images. I suspect this means that at some point in the future I will love both, but at the moment I am struggling with my largely ambivalent response. I have however just looked at some of Meyerowitz’s “Cape Light” images and I do like those – the colour and delicacy that runs through the set, the way he actually has captured the light. I took my problem to the OCA L1 Facebook group and had a variety of helpful responses, including a link to a series of interviews with American photographers including both Meyerowitz and Winogrand. So I now feel slightly better informed about them both as individuals, whilst feeling slightly less ambivalent about the work that I have seen. I hope that learning something about them as people and photographers might ease open a door into appreciating their work. Interviews with both of them can be found here at http://www.art.docuwat.ch.

Meyerowitz resigned his advertising job after accompanying Robert Frank on a shoot. He often talks about motion; about the flow of the street and Frank’s motion needed to get a snapshot of stillness. He also has a frequent metaphor of water through his speech, from his stream of life to the St Louis Arch by the river, to his comments about how the then Director of MOMA John Scharkowski (that is almost certainly spelled incorrectly, but I have not been able to find the correct spelling) would monitor the stream of creatives, putting the “little fish” back in to grow a bit more. He initially worked in colour, then switched to black and white, eventually moving back to colour when he considered the printing technology to be good enough to produce large colour prints. His move to a large format 8×10 was also a considered conscious decision (as opposed to Massimo Vitali who was forced to make the switch when all of his lighter cameras were stolen from his car and only the heavy 8×10 left behind). I think that I prefer his colour work, it speaks to me more than the black and whites. I like the emptiness of the Cape Light work and the way the light softens the colours. In his black and white work the one that keeps coming to mind is the one of the immaculately dressed and coiffed cashier at the cinema whose mouth and much of her face is obscured by the speaker grille (New York City 1963). This reminds me of the Doctor Who episode “Idiot’s Lantern” set in 1950s Britain where tv viewers have their faces and souls extracted through televisions bought for the Coronation.

Watching the equivalent interview for Garry Winogrand didn’t leave me in much of a more informed position, although I did have more questions. His work is about transforming a collection of facts by “putting four edges around them”. He looks for the transformation, the change of the banal, and often this is achieved simply by the act of skilful framing. He came across as quite commercially minded, aware of the value of his work and why it was bought. I found some of his quotes interesting, especially given my difficulties in engaging with the work. He was asked what his intent was with a particular photograph.

“I don’t have any intent. My intention is to make interesting photographs, that’s it”.

That word “interesting” came up again when discussing his book “Women are Beautiful”. He said:

“Is it an interesting picture, or is it the woman?….I generally deal with something happening.”

He died early, at 56, leaving quarter of a million undeveloped images in addition to his already huge body of work. I think the sheer scale of this work is another factor in my difficulty to engage – there is just so much of it. Yet as I look at more and more information on the internet and in books bits of his work do start speaking to me – the joy of the couple at the beach, the caught smiles, the small child on the huge driveway.

The issue is undoubtedly with me. I’m not sure that street photography inspires me in the way that conceptual work or constructed does. He didn’t actually like being referred to as a Street Photographer.  I’m not a huge fan of tilted frames (possibly because I often struggle to get a straight horizon myself).  I like my photographs to be loaded with intent. Perhaps I just find different things interesting. I will continue to look at his work and learn more, however, as I will do with Meyerowitz too.

Peter Funch was something of a revelation to me. I was initially drawn in by the “Vertical flowers on the table” series on his website. I liked the very domestic subject and setting paired with the painterly colours and light. Reading further, I thought there was a similarity between an image in his “Danish Diary” series and di Corcia’s “Heads” – both in the subject matter and the artificial cinematic lighting. Though Danish Diaries shows many heads, and I wonder if it might be a composite like Babel Tales (see next). I then moved onto “Babel Tales – Studies of human relations in a metropole”. For this series Funch constructed composites of the same street but at different moments. Everyone in the frame is engaged in a similar action – perhaps yawning, pointing, having their eyes closed…. it reminded me very much of Hans Eijkelboom but with typologies of gestures rather than clothes, and all the different instances confined to one frame rather than presented as a sequence. The result is real people in a real place but in a composite moment that never actually happened as it is shown.

Andreas Gursky. I always find something in his work, whether it’s the vastness of huge indoor spaces documented in the tiniest detail, or the architectural precision given to a row of shoes. His compositions seem to give order where there is none, such as the chaos of people on trading floors, or to reinforce architectural patterns such as the rows of Prada shoes that he photographed for Vogue magazine The photograph that I have linked to here made me think of Massimo Vitali’s beach work too – the large scale with the relatively huge expanses of water and the crowds of tiny people.

Massimo Vitali was completely new to me. He photographs beaches and nightclubs in Northern Italy, all crowded with people. Photographs are taken with an 8×10 camera mounted on an aluminium scaffold, to fix the camera’s limited depth of field. Although the colours are beautiful and the places remarkable, the images are really about the people who are enjoying themselves. Somehow they are shown differently to the crowds in say WeeGee’s Coney Island though, the individuals are a little less distinct, a little more lost in the crowds. A slightly different perspective shows refugees on a beach, the same kind of beach but a different population, one where the beach is hopefully a gateway to a new life rather than a holiday escape from daily life. These newcomers are marshalled and corralled though, rather than spread out on towels or loungers.

Square Mile Research

I was fortunate enough to also research this subject for my Foundation course, it’s documented here but here follows a brief extract.

Tom Hunter and Dan Holdsworth introduced me to the diversity possible in the brief – from Holdsworth’s vast unpopulated buildings and spaces to Hunter’s intimate photographs of people interacting with their environments and telling their stories. Wanting to read further, I found the research brief for the same assignment in Express Your Vision. Gawain Barnard inspired me with his words “The landscape of youth is laden with memories” (Boredom to Burn) and showed a convincing adolescent world, part dark underpasses, part open grasslands. Like Hunter, Venetia Dearden (Somerset Stories Fivepenny Dreams) shows a powerful physical interaction between her subjects and their environments. Her use of bridges echoed Gawain Barnard’s underpasses and made me think of different ways of showing the bridge landmarks of my home. Jodie Taylor’s Memories of Childhood was very inspiring. Her photographs were an intimate account of where she played in her childhood. Her landscape seemed familiar even though my childhood landscape was very different. I wanted my photos to be empty of people, and Jodie showed that it was possible to do this.

Coming back to the same brief but with a year of learning under my belt, my first thought was to identify those photographers I’ve encountered over that year that I thought would fit with the Square Mile concept. I also considered those photographers whose work didn’t really chime with me the first time around, and re-visited those. I stayed with Dearden and Hunter, as I was inspired by the physical interaction in their images and wanted to include interaction in mine too. I ended up with a mind-map of potential photographers to explore. The right hand side contains photographers suggested as research by the Foundation and EYV versions of this assignment, the left hand side is photographers I have encountered as part of my independent learning or via comments from my Foundation tutor.

Square Mile Research

The book Family Photography Now (Howarth and McLaren, 2016) was very interesting and provided several points of engagement – especially Mimi Mollica’s  “Nora there” series which documents his young daughter in familiar places but with complete strangers. I was looking for work that combined portraiture and location, preferably familiar locations fulfilling the Square Mile element.

Here are my notes on the photographers that I researched, via books and internet.

Hannah Starkey. Cinematic, stylised reconstructions of moments from the everyday. They have a detachment, a sense of disconnect which I like.

Untitled - May 1997 1997 by Hannah Starkey born 1971
Untitled – May 1997 1997 Hannah Starkey born 1971 Purchased 1999 http://www.tate.org.uk/art/work/P78246

‘Untitled – May 1997, Hannah Starkey, Date of Work, 1997: © Tate, London [2016]’

Anna Gaskell “Wonderland”. A dark retelling of the classic story.

Evgenia Arbugaeva “Tiksi”. A series exploring her own childhood in the Russian Arctic. Colour palette ranges from the domestic through fairy tales to sci-fi and she shows a young girl confidently and comfortably exploring an environment of vast frozen land and seascapes and snug domestic spaces. Documented further in study visit here.

Penny Watson “Where have all the children gone?” Level 3 OCA student Penny shows images that also have that disconnect. She takes found images from Victorian postcards and works them into contemporary rural landscapes, neatly illustrating the lack of children in our landscapes today. I found this one interesting because it became obvious early on that most of my daughter’s favourite places are indoors; her favourite places are rather more indoors than mine were at the same age.

Stephen Gill “Hackney Kisses” “Hackney Flowers” and “Hackney Wick”. I wrote in more detail about these series here.  He has a literally organic approach to working and photographing in his locality. He works with collage, found objects, buried photographs and images transformed organically by inserting matter into the camera. It’s not the approach I need for this assignment as I need to work more on straight digital images, but I find it fascinating and inspiring.

Charley Murrell “Constructed Childhoods”. Charley’s images are of constructed versions of the childrens ideal selves. I liked how the images were hard-wired into the child’s physical environment, making these hopes and illusions palpable. This was the photographer that gave me the most inspiration for my reworked previous Square Mile, along with Peter Kane and Parick McCoy as suggested by my tutor.

Sian Davey “Looking for Alice”. All of Sian’s family work engages me, it is so very current. “Looking for Alice” has an interesting use of space and place, somehow conveying the idea of this tiny girl absolutely owning the spaces that she’s in.

Roni Horn “You are the weather”. This was one of the photographers that I struggled to engage with first time around. Returning to the work, I’m touched by the effective simplicity of it – the way that the woman is showing her response to the weather (and hence reflecting the weather) in every shot. It’s simple recursiveness reminds me of John Hillier’s Camera Recording Its Own Condition.

Marc Rees. Another artist that I struggled with at any level, from the website structure onwards. Now his work makes far more sense and the way he works with the most banal and mundane artefacts of childhood to construct meaningful art (such as Supper set site).  I also realise now that you (I) can keep returning to the same Square Mile brief over and over and there is no reason for the work to be repetitive even when covering the same mile repeatedly. Looking at his work has left me with a desire to photograph my daughter’s square mile via the domestic textiles and artefacts that she encounters.

“It’s good to return to the familiarity of my square mile: the intimate landscape and décor of my upbringing and it’s amazing how much material can be continuously drawn from that very simple notion, it is indeed an inexhaustible source of inspiration.” (http://www.theatre-wales.co.uk/news/newsdetail.asp?newsID=2962)

Peter Mansell. Another OCA student, this series shows landscape from a wheel-chair owner’s perspective. It shows the physical interactions between the chair and the environment, the different perspective, and gives the idea of a different type of mobility.

Sarah Jane Field. Another OCA student, who I know via various social media channels. Her photographs of children always engage me with their directness and use of colour. She is working on a series about girlhood, which I cannot wait to see more of. You can see one of the images here. She shows children as people, as individuals, which sounds such an obvious thing but which is actually not that common on Instagram.

References and bibliography over both original and reworked A1

Arbugaeva, E. (2017). — Tiksi: Stories: Evgenia Arbugaeva. [online] Evgeniaarbugaeva.com. Available at: http://www.evgeniaarbugaeva.com/stories/—tiksi/ [Accessed 10 Sep. 2017].

Bright, S. (2011) Art Photography Now. 2nd edn. New York. NY: Thames & Hudson.

Cosci, G. (2017). Gianluca Cosci – Panem et Circenses. [online] Gianlucacosci.com. Available at: http://gianlucacosci.com/page10.htm [Accessed 10 Sep. 2017].

Cotton, C. (2014) The Photograph as Contemporary Art. 03rd edn. UK: Thames and Hudson

Davey, S. (2017). Looking For Alice. [online] Sian Davey. Available at: http://www.siandavey.com/humannature/ [Accessed 10 Sep. 2017].

Howarth, S. and McLaren, S. (2016) Family Photography Now. UK: Thames & Hudson

Kirkpatrick, K. (2017). Kim Kirkpatrick. [online] Kimkirkpatrick.com. Available at: http://www.kimkirkpatrick.com/Artist.asp?ArtistID=23660&AKey=FGWAF5R9&ajx=1#!pf97163 [Accessed 10 Sep. 2017].

Mollica, M. (2017). work. [online] mimi mollica photographer. Available at: http://www.mimimollica.com/work/#/nora-there-1/ [Accessed 10 Sep. 2017].

Short, M. (21011) Basics Creative Photography 02: Context and Narrative. Lausanne, Switzerland: AVA Publishing SA.

Watson, P. (2017). Where have all the children gone. [online] penny watson. Available at: http://www.pennywatson.co.uk/childrengone/ [Accessed 10 Sep. 2017].

Waxman, L. and Grant, C. (2011). Girls! Girls! Girls! in Contemporary Art. Bristol: Intellect.