For my practical response, I intend to explore the issues and themes that I explored during my curatorship task, and how I can relate my response to the photographers I analysed. As 'globalisation' is a very broad topic and theme, during my practical response, I would like to examine multiple strands of the concept of 'globalisation'.
I would also like to explore how globalisation influences our everyday lives, through the big brands we always come across, whether that may be in the streets or through our smart phones.
I would like to explore in particular how globalisation has facilitated deindustrialisation (industrial decline) due to the global economic shift of industry to emerging nations such as China.
I would also like to explore how globalisation influences our everyday lives, through the big brands we always come across, whether that may be in the streets or through our smart phones.
I would like to explore in particular how globalisation has facilitated deindustrialisation (industrial decline) due to the global economic shift of industry to emerging nations such as China.
Mood Board
Research
There are many definitions for the term 'globalisation':
- The integration of economies, industries, markets, cultures and policy-making around the world.
- The process by which businesses or other organisations develop international influence or start operating on an international scale.
- The process by which the world is becoming increasingly interconnected as a result of massively increased trade and cultural exchange. Globalisation has increased the production of goods and services.
- Increasing economic interdependence of national economies across the world through a rapid increase in cross-border movement of goods, services, technology, and capital.
First Development
For my first development, I wanted to focus on the USA and Europe's global influence through big, corporate brands and transnational corporations. I was shooting in the town of Toulouse in South-Western France. It is known as La Ville Rose (‘The Pink City’) due to the terracotta bricks used in many of its buildings. The ancient city's architecture dates back to the 17th-century. Being aware of this ancient history, I expected that the inner city would be well preserved and relatively protected from the negative effects of globalisation on its urban fabric and businesses. While part of this is true, I discovered that big, globally influential brands infiltrated the pretty streets of Toulouse. This really struck me as picturesque squares' homogenous architecture were, in my view, ruined by the bright lights of fast fashion brands such as Primark. I subsequently explored the surrounding areas and side streets and found many more brands on the street level, in particularl Bouygues, a well-known french media, communications and transport company which is also present on the global scene.
When photographing these brands in the midst of the city, I also wanted to capture the surrounding scenes. I used perspective and angles to include the city's traditional architecture to my photographs. I focused the brands' signs and visual cues on the bottom left corner of the frames.
When photographing these brands in the midst of the city, I also wanted to capture the surrounding scenes. I used perspective and angles to include the city's traditional architecture to my photographs. I focused the brands' signs and visual cues on the bottom left corner of the frames.
Evaluation
I very much enjoyed this shoot, however I don't think there is much to explore in this area of photography. I think that the pictures are quite bland and I have struggled to think of a way to develop this idea and thus make my photographs more effective and interesting. I think that the upwards perspective used is effective in illustrating not only the famous traditional french architecture, with the terraces and the shutters, but also how big global brands have embedded its heritage in an alarming way. Moving on, I will be looking for new ways to explore the concept of 'globalisation'.
Second Development
I then went on to research different ideas, and how I could photograph another concept of 'globalisation'. I subsequently became particularly interested in the idea of the decline of industry in developed, wealthy countries. This occurred in the North of England, in places like Sunderland, Sheffield and Newcastle where there was a wide range of industries including glass making, potteries, limestone quarrying, coal mining and shipbuilding. These industries closed down in the mid to early 20th century because of the global economic shift. Most of these industries relocated to China, Japan, South Korea, India, Bangladesh and India because of a large labour workforce there that was willing to undertake this labour at cheaper costs. This created lots of problems in the developed countries, including unemployment, crime, depopulation and dereliction. I decided to focus my work on dereliction.
I was familiar with an old shipyard which I knew existed in a southern french town where my mother comes from but I had never explored this place and its history. I first asked my maternal grandmother about this place and she informed me that the shipyard was extremely active and economically successful during most of the 20th century, having only closed in the late eighties. My great, great grandad had worked there as a welder for most of his working life. He took part in the construction of gigantic ships and cruiseliners to be sold across the Mediterranean and the wider world. She told me that this town, La Seyne Sur Mer used to have a thriving ship building industry, which attracted people from the whole of the Mediterranean to come and work there. It was the reason why my ancestors had immigrated from Italy, Spain and Corsica to this town, seeking employment. I began to be more and more intrigued. The town owed its importance to the ship building trade, "la Société des Forges et Chantiers de la Mediterranée", having there one of the finest shipbuilding yards in Europe (it is a branch of the larger establishment at Marseille), which gave employment to about 5,000 workers.
By the late twentieth century, the industry was no longer thriving. In more recent years the town has moved from its traditional industries to tourism. The docks previously used to have extensive work and now, the old yard comprise a park, a casino, a teacher training college, marinas and a new (2010) hotel overlooking Toulon and its attractive bay.
I was familiar with an old shipyard which I knew existed in a southern french town where my mother comes from but I had never explored this place and its history. I first asked my maternal grandmother about this place and she informed me that the shipyard was extremely active and economically successful during most of the 20th century, having only closed in the late eighties. My great, great grandad had worked there as a welder for most of his working life. He took part in the construction of gigantic ships and cruiseliners to be sold across the Mediterranean and the wider world. She told me that this town, La Seyne Sur Mer used to have a thriving ship building industry, which attracted people from the whole of the Mediterranean to come and work there. It was the reason why my ancestors had immigrated from Italy, Spain and Corsica to this town, seeking employment. I began to be more and more intrigued. The town owed its importance to the ship building trade, "la Société des Forges et Chantiers de la Mediterranée", having there one of the finest shipbuilding yards in Europe (it is a branch of the larger establishment at Marseille), which gave employment to about 5,000 workers.
By the late twentieth century, the industry was no longer thriving. In more recent years the town has moved from its traditional industries to tourism. The docks previously used to have extensive work and now, the old yard comprise a park, a casino, a teacher training college, marinas and a new (2010) hotel overlooking Toulon and its attractive bay.
My Response
For my response, I decided to visit the abandoned site and photograph how the factory had been left intact, although vandalised, since its closure. It was quite daunting to visit the site, as there was still machinery left lying around and there were some safety hazards, such as apparatus dangling from the ceiling and large holes which you could have easily stepped into. It was incredible to think that all those years later, the place was almost completely untouched, which is very unusual. Normally, once a piece of land or a brownfield site is no longer used, it is likely to be quickly redeveloped and gentrified into something new and modern. I think one reason perhaps why this did not occur with this particular building is because it is such a strong and important part of the town's legacy and the local council took a very long time to decide what to do with it and to attract the right investors. It is still undeveloped as we speak.
Evaluation
I was very pleased with this shoot, I thought it was effective in several ways. Firstly, the bright colours of the graffiti jump out at the viewer. Furthermore, the mixture between simplistic and isolated pictures compared to overwhelming rubble and machinery illustrates the site in many different perspectives.
The spatial extent is incredibly fascinating. Through my images, you can see the history, and perhaps the images somewhat refer to a 'time capsule' to when the shipyard was in its prime. The framing is interesting as well as the way in which I have focussed objects and pathways in the centre frame, which draws the attention to that particular object, for example a box or old shipbuilding apparatus.
The spatial extent is incredibly fascinating. Through my images, you can see the history, and perhaps the images somewhat refer to a 'time capsule' to when the shipyard was in its prime. The framing is interesting as well as the way in which I have focussed objects and pathways in the centre frame, which draws the attention to that particular object, for example a box or old shipbuilding apparatus.
Third Development
I discovered this document online which is a bibliography in french of the La Seyne shipyards, right from when the industry was first established to when it was closed down due to deindustrialisation. I was unsure as to how to develop my original images. After a lot of thinking and researching, I concluded that I wanted to incorporate and connect the two into my next development. I thought of this as a way of incorporating the past into the future, and the problems that this evolution brought along with it. I used photoshop to extract text from the document and insert it in the windows of each of my images.
Using Photoshop
On photoshop, I created two layers, one of the original image and the other of the french text. I then combined the layers and used a combination of the opacity tool, to correctly place the text on the image, and the eraser tool, to rub out the text in the places where it was not necessary. This was difficult at times, because of the thin metal frames in between the windows, I had to make sure that I had a steady hand so that the lines looked clean and precise when exposing every single detail of the window. After I finished establishing the text in the windows, I worked on improving the whole images' quality. I wanted the colours to stand out and to make the pictures more vibrant. To do this, I went to:
Image > Adjustments > Levels/brightness and contrast/vibrance/hue and saturation
Image > Adjustments > Levels/brightness and contrast/vibrance/hue and saturation
CHANGE OF BRIEF
During my curatorship, I was mostly intrigued by the work of Andreas Gursky and Johnny Miller. These two photographers are very different. Gursky focuses on consumerism and how global demand has increased through population growth, fuelling the global need for housing. This is particularly visible in his 'Montparnasse' masterpiece. What facinated me about Miller, on the other hand was his ability to integrate both the landscape and the person who inhabited it, in such an effective and successful way. This is particulary meaningful to me in his photograph of Asiphe Ntshongontshi, surrounded by the simple shacks and slums in Cape Town, South Africa.
Through my change of brief, I would like to explore the concepts of economic and population growth, and how that has resulted in international migration, thus pressurising and potentially jeopardising one of our fundamental human rights, shelter and housing. As most European countries recovered from the traumas of World War Two, they became attractive destinations for potential migrants and opened their doors to globalisation and immigration to help rebuild their economies. Furthermore, during the post-war period, technological improvements in land and air travel decreased the cost of migration. The combination of mass migration and the need for housing and reconstruction, due to the destruction from bombing and war in Europe resulted in the stereotypical 'housing estates' rising in the skylines of many european cities and their suburbs. These were seen as a brand new genius initiative that would solve every housing issue. However, this perception did not last, as these concrete, tight and compacted types of accommodation brought many problems, as well as a negative image, where social issues would fester. I am looking forward to photographing different estates around London, and seeing where that will take me in my developments.
Through my change of brief, I would like to explore the concepts of economic and population growth, and how that has resulted in international migration, thus pressurising and potentially jeopardising one of our fundamental human rights, shelter and housing. As most European countries recovered from the traumas of World War Two, they became attractive destinations for potential migrants and opened their doors to globalisation and immigration to help rebuild their economies. Furthermore, during the post-war period, technological improvements in land and air travel decreased the cost of migration. The combination of mass migration and the need for housing and reconstruction, due to the destruction from bombing and war in Europe resulted in the stereotypical 'housing estates' rising in the skylines of many european cities and their suburbs. These were seen as a brand new genius initiative that would solve every housing issue. However, this perception did not last, as these concrete, tight and compacted types of accommodation brought many problems, as well as a negative image, where social issues would fester. I am looking forward to photographing different estates around London, and seeing where that will take me in my developments.
The History of Britain's Social Housing
During the Victorian era, poverty was considered to be a problem for the poor, whom were mostly slum dwellers. After World War one, a social revolution came about with the aim of creating a better life and future for people in London and the big cities. The idea of sending Britain’s war heroes back to slums seemed like a outrageous and unthinkable one, so council estates, also known as social housing were developed and built. The purpose of this type of housing was to rehouse people in post-industrial areas, especially when they were displaced by slum clearance or war destruction. The slum clearance came about as away to reduce overpopulation and improve the health of Londoners and the living standards of London’s slum dwellers. In 1919, Parliament passed the ambitious 'Housing Act' which promised government subsidies to help finance the construction of 500,000 houses withing three years. Passing this important act was a highly significant step forward to support appropriate housing provision for the many. It made housing a national responsibility, and local authorities were given the task of developing new housing and rented accommodation where it was needed for working people. It was viewed as a new founding respect for the working classes.
The initial housing schemes moved thousands of families into better accommodations. However, after the Second World War council housing and its provision, became to be seen as a right rather than a privilege. Through no fault of their own, many people returned home from the war to see that their homes had been completely destroyed by the blitz, leaving families homeless. As a result, the government started to provide houses that would be permanent homes. Council Estates provided a vision for the development of the future and met their needs.
The initial housing schemes moved thousands of families into better accommodations. However, after the Second World War council housing and its provision, became to be seen as a right rather than a privilege. Through no fault of their own, many people returned home from the war to see that their homes had been completely destroyed by the blitz, leaving families homeless. As a result, the government started to provide houses that would be permanent homes. Council Estates provided a vision for the development of the future and met their needs.
As the construction of council housing developed, the blueprint for large high-rise estates evolved. The tower blocks created ‘streets in the sky’. These self-contained communities were equipped with facilities such as pubs and parks. The country’s largest housing estate, Beacontree, in Essex, filled 27,000 homes with the urban working class from London’s overcrowded slums. In an interview a resident described the estate as “heaven with the gates off.”
Social-housing in the country was becoming more prevalent, at its peak in 1970 one third of the British population lived in council housing. The future of social-housing seemed bright, however, the working class people who had been the original reason for the development of council housing had become less of a priority. After a time of suffrage and loss after the second world war, the rural population wanted to seek a better life in urban areas. Rapid rural to urban migration then took place in the second half of the twentieth century, and led to large metropolitan areas to become overcrowded once again. Solutions to overpopulation came in the form of 'new towns' within a close proximity to London where commuters and the more affluent working class rather than slum dweller could establish themselves.
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This was where the government became fixated on consumerism rather than creating social utopias, and so the problems began. These new towns are now known as Stevenage and Milton Keynes.
Councils placed less effort into the social needs of communities and invested very little into the maintenance of the housing estates. The perception of housing estates warped from being heavenly to being cheap, they were now known for being the breeding ground for anti-social behaviour, crime and depopulation. “The homes that were built to replace the slums were becoming slums themselves.” In an effort to improve the opinions of theses area council began to regenerate areas, bringing in outside investment (often from transnational corporations). Whilst large estates such as Southwark's Heygate Estate were demolished to make way for shiny luxury apartments low-income families and small businesses were displaced. Generations of communities who had grown up together were now forced to move to the suburbs, away from their jobs, family and friends. In some cases families were pushed out completely of their home cities.
Councils placed less effort into the social needs of communities and invested very little into the maintenance of the housing estates. The perception of housing estates warped from being heavenly to being cheap, they were now known for being the breeding ground for anti-social behaviour, crime and depopulation. “The homes that were built to replace the slums were becoming slums themselves.” In an effort to improve the opinions of theses area council began to regenerate areas, bringing in outside investment (often from transnational corporations). Whilst large estates such as Southwark's Heygate Estate were demolished to make way for shiny luxury apartments low-income families and small businesses were displaced. Generations of communities who had grown up together were now forced to move to the suburbs, away from their jobs, family and friends. In some cases families were pushed out completely of their home cities.
Tackling London's housing crisis
In recent decades, urban areas have excelled in creating jobs and opportunities. But at the same time, they have failed to build the homes needed. Now a generation of urban dwellers cannot afford their rent and many are forced to live in overcrowded or unsuitable conditions. For many in my generation, home ownership is a distant dream.
Additionally, thousands of homeless children are growing up in cheaply converted shipping containers and cramped rooms or in former office blocks; 130,000 families in England are being crammed into one-bedroom flats; and social housing residents of a block of flats in East London engulfed in flames reported that they were being forced to move back despite safety fears. The government spent £1.27bn on affordable housing in 2018, according to the National Housing Federation. It wants to see that rise to £12.8bn a year for 10 years, so 145,000 more houses can be built every year.
There is also frustration for those who want to see reforms to the housing sector following the terrible fire in Grenfell Tower in June 2017. “We’re now confronted with our fourth housing minister within just over two years,” says Edward Daffarn, a leading member of the Grenfell United survivors’ group, which is calling for better tenant representation and the creation of a consumer watchdog for those living in social housing. “The frustration of having to start again is beyond measure.”
Additionally, thousands of homeless children are growing up in cheaply converted shipping containers and cramped rooms or in former office blocks; 130,000 families in England are being crammed into one-bedroom flats; and social housing residents of a block of flats in East London engulfed in flames reported that they were being forced to move back despite safety fears. The government spent £1.27bn on affordable housing in 2018, according to the National Housing Federation. It wants to see that rise to £12.8bn a year for 10 years, so 145,000 more houses can be built every year.
There is also frustration for those who want to see reforms to the housing sector following the terrible fire in Grenfell Tower in June 2017. “We’re now confronted with our fourth housing minister within just over two years,” says Edward Daffarn, a leading member of the Grenfell United survivors’ group, which is calling for better tenant representation and the creation of a consumer watchdog for those living in social housing. “The frustration of having to start again is beyond measure.”
The primary cause of the housing crisis is the lack of new houses being built. Since the 1980s, when council houses were sold in their millions, public bodies have, partly through policy and partly owing to a lack of funding, all but abandoned large social scale housing construction projects. One factor that tends to be cited in this context is the degree to which certain types of housing end up in the hands of landlords, rather than owner occupiers. Many people regard this as unacceptable, since it effectively means that increasing numbers of families end up renting rather than buying their home. The decline in house building, to levels not seen since just after the First World War, has taken place at the same time as the UK has undergone something of a population explosion, with most estimates suggesting that around 65 million people currently live in these isles. Accordingly, there just aren't enough homes for those who need them.
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An estimated 8.4 million people in England are living in an unaffordable, insecure or unsuitable home, according to the National Housing Federation. Demand for residential properties pushes prices up to levels which are just not affordable for the majority of first time buyers. The problems experienced by those first time buyers with getting that first foothold on the housing ladder are exacerbated by almost stagnant wages and low interest rates since the global financial crisis, which makes saving for a deposit seem like an almost impossible challenge. The shortage of homes and the inflated price of those which are offered for sale in turn increases demand for rental properties, with rents rising in response to this heightened demand. Accommodation costs therefore consume a disproportionately large chunk of a family's income, seriously harming their quality of life.
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Simon Phipps
London based British Photographer Simon Phipps graduated in Sculpture at the Royal College of Art. He is the renowned creator of the New Brutalism Collection of Photography on Tumblr, Instagram and Twitter and the photographer of post-war modernism and the author of three books: Brutal London, Finding Brutalism and recently published Concrete Poetry: Post-War Modernist Public Art. For his latest book, Concrete Poetry, Phipps has diverted his discerning lens towards prominent postwar public art and sculpture across the UK.
In the aftermath of the Second World War, Britain began rebuilding its fractured, rubble-ridden urban landscape and reestablishing societal morale. The hope of a new breed of citizen emerged, one that was community-minded, liberal and embraced the largely uncharted territory of communal living spaces. Then, came an era in which the function of publicly owned art came to the fore as symbols of creative democracy, emblems of Britain in the midst of progression and in the Phipps’ words, totems for ‘shared social experiences’.
In the aftermath of the Second World War, Britain began rebuilding its fractured, rubble-ridden urban landscape and reestablishing societal morale. The hope of a new breed of citizen emerged, one that was community-minded, liberal and embraced the largely uncharted territory of communal living spaces. Then, came an era in which the function of publicly owned art came to the fore as symbols of creative democracy, emblems of Britain in the midst of progression and in the Phipps’ words, totems for ‘shared social experiences’.
Phipps has compiled yet another weighty tome deeper than aesthetics and broader than brutalism. One thing Concrete Poetry resoundingly reaffirms is that brutalist sculpture continues to be as divisive as it is entrenched in the familiar landscape of postwar Britain.
My Response
This shoot was my first response to my curatorship theme of globalisation. I think the subject is incredibly broad, as there are numerous different definitions of the concept. I went to a local council housing that I had walked past on numerous occasions. I felt familiar with the buildings as I had visited the area before. I decided to go out and shoot later in the day to add a dark and eerie effects to my images. The estate to me is a bit like a lump of concrete that has been placed on some grass. I tried to capture not just its architecture, but also the building in its surroundings The estate seemed completely derelict. There was the occasional resident that would leave and enter the building, but apart from that minimal movement, it was completely deserted and still. The estate photographed is named 'Rocklands' and was offered for sale in an area 'ripe for development' in 1930, as the grounds of an old stately home. However, construction only began in 1974.
I decided that my shoot should be at the time of the day when light was soft and mellow, so I decided to take pictures during the 'golden hour'. Initially, my ISO was on 200 but as time went on, there was less light, so I had to change my camera settings and my ISO to 400 and even 800 to adapt to the changes in lighting.
I decided that my shoot should be at the time of the day when light was soft and mellow, so I decided to take pictures during the 'golden hour'. Initially, my ISO was on 200 but as time went on, there was less light, so I had to change my camera settings and my ISO to 400 and even 800 to adapt to the changes in lighting.
Evaluation
When reflecting on my shoot, I am happy with the results. I thought the shapes and lines embedded in the images were interesting and effective. I used the formal elements of perspective frequently. Inspired my analysis of Simon Phipps's photographs, I looked for structured lines and based my frame in their direction. I would anchor my camera to get a good frame and perspective in the shot. This is something which I found was working well and producing a strong visual effect when shooting and looking at the image, and I will continue to do this technique in later developments. Furthermore, I thought that another element of the shoot that went very well was the use of colour. The mellow, aqua blue that featured in the majority of the images was a beautiful and slightly melancholic pop of colour, which contrasted dramatically with the bleak dark red and maroon bricks and the brutal architecture of the main structure.
In order to improve these shoots, I would have photographed them at a slightly earlier time. As I mentioned above, I had quite not anticipated how quickly it was going to get dark. I was forced to increase my ISO, and therefore my photographs towards the end of the shoot appeared to look slightly more grainy. Also, even though these photographs are of a housing estate, I would like to visit some more estate which are much larger in scale, to create a more dramatic effect, use longer perspectives, enhance visual impact and make my images more impressive altogether, with a wider sense of scale.
In order to improve these shoots, I would have photographed them at a slightly earlier time. As I mentioned above, I had quite not anticipated how quickly it was going to get dark. I was forced to increase my ISO, and therefore my photographs towards the end of the shoot appeared to look slightly more grainy. Also, even though these photographs are of a housing estate, I would like to visit some more estate which are much larger in scale, to create a more dramatic effect, use longer perspectives, enhance visual impact and make my images more impressive altogether, with a wider sense of scale.
Second Development
Brutalism is an architectural style of the 1950s and 1960s characterised by simple, block-like forms and raw concrete construction. The term was coined by the British architectural critic Reyner Banham to describe the approach to building particularly associated with the architects Peter and Alison Smithson in the 1950s and the 1960s. The term originates from the use, by the pioneer modern architect and painter Le Corbusier, of 'beton brut', which translates to 'rough concrete' in French. Banham gave the french word a twist to express the general horror with which this concrete architecture was greeted in Britain.
Brutalism is sometimes classified as its own distinctive subtype, though it is considered a variant of post-war modernism. It can be argued that architects of the time wanted to catch the public eye, portraying themselves the 'avant-garde' architects of their time as thought it was fashionable. There was no aesthetic purpose. It was not for functionalisum, for the people or community, but purely to create a new modern style for architects to bring attention among themselves and raise their profiles. The architect of the national theatre on London's Southbank Centre, Basil Spence was more concerned with the aeshtetic, scale and humanity of the design.
Brutalism is sometimes classified as its own distinctive subtype, though it is considered a variant of post-war modernism. It can be argued that architects of the time wanted to catch the public eye, portraying themselves the 'avant-garde' architects of their time as thought it was fashionable. There was no aesthetic purpose. It was not for functionalisum, for the people or community, but purely to create a new modern style for architects to bring attention among themselves and raise their profiles. The architect of the national theatre on London's Southbank Centre, Basil Spence was more concerned with the aeshtetic, scale and humanity of the design.
Simon Phipps
This is my second development of my artist study on Phipps. The work that particularly interested me in this development is Phipps's 'Brutal London', where he went around and photographed the famous brutalist structures all around London. Phipps distinctive photographic compositions catch the viewers' eye and creates a clear perspective. His work is heavily inspired and based on the formal elements negative space, shape and perspective.
Simon Phipps continues though these images to be very successful in acheiving bold and effective lines. The image on the left is of the Brunswick Estate, a famous and classic brutalist estate in Notting Hill, West London. The image is using a dramatic perspective to photograph the scale of the building. The photo on the left is taken from directly underneath Trellick Towers, making them seem taller and enhancing the effect of their 'brutality'. The photo is also taken at a slanted angle which gives an optical illusion that the building could be either on its side or upwards. If you tilt your head to the left, it looks as if the building is on its side whereas if you tilt your head to the right, the building looks like it is 'going up'. I like the way Phipps has done this with the photo as it makes the photo more interesting and unique to the viewer depending on how they view the photo which keeps the viewers attention for longer. The interaction between the viewer and the photographer becomes a 'game' and the photograph is at the centre of it.
'Brutal London' presents a new photographic look at a side of the capital which has been ignores for too long. The raw concrete and imposing mass of Brutalist architecture is undeniably part of the fabric of London's landscape, both visually and socially. Furthermore, these brutalist images illustrate a part of London's urban history, and the minute details of architectural style that was so incredibly popular and fashionable at the time.
'Brutal London' presents a new photographic look at a side of the capital which has been ignores for too long. The raw concrete and imposing mass of Brutalist architecture is undeniably part of the fabric of London's landscape, both visually and socially. Furthermore, these brutalist images illustrate a part of London's urban history, and the minute details of architectural style that was so incredibly popular and fashionable at the time.
My Response
The original Barbican area was designed to shield its residents from the outside world. It was built between 90 and 120AD and was once called the Cripplegate. It survived the plague and the great fire of London but was destroyed in bombing raids in 1940. In 1951 the population dropped substantially and it was decided that the area would be rebuilt as a housing estate for people who wanted to live in the city, without a commute. It was inspired by French architecture, especially the French architect Le Corbusier. In 1959 work finally started and more inspiration came from the Dolphin square in Pimlico. The Barbican today is home to 4,000 people. It is also a performing arts centre located in the middle of the Barbican Estate in the City of London and is the largest of its kind in Europe. The Centre hosts classical and contemporary music concerts, theatre performances, film screenings and art exhibitions. It also houses a library, three restaurants, and a conservatory. It has been designated as a site of special architectural interest. In my opinion, the Barbican is not really brutalist because it is landscaped at human scale, in spite of its taller towers. The pleasant public spaces interspacing the buildings provide this human scale in my opinion.
When I took my photographs, I continued to take into account the 3 elements of photographing architecture; form/shape, negative space and perspective. I thought that Phipps's images were extremely effective in black and white so I decided to make all my images monochrome on photoshop, and then adjust the contrast.
When I took my photographs, I continued to take into account the 3 elements of photographing architecture; form/shape, negative space and perspective. I thought that Phipps's images were extremely effective in black and white so I decided to make all my images monochrome on photoshop, and then adjust the contrast.
Artist and me
There are similarities and differences between mine and Phipps's image. We both photographed the same three structures, and at the same perspective of looking upwards. Both of our images areblack and white, however Phipp's seems to be be more grainy and without any shadows, perhaps to emphasize the concrete which makes up the structure and its brutal nature.
One clear difference also is that Phipps perfectly lines up the three tower blocks, however I do not. Phipps' way of composing the towers in his image is effective, as it shows the sheer scale, the connectiveness and the stark similarities between the structures. However mine on the other hand in my opinion is more effective. This is because the first tower is much more isolated, and takes up the majority of the frame. It is only in the third vertical that the other two and combined together and are somewhat of a shock to the viewer. The use of the rule of thirds is what makes the image much more impressive in my opinion.
One clear difference also is that Phipps perfectly lines up the three tower blocks, however I do not. Phipps' way of composing the towers in his image is effective, as it shows the sheer scale, the connectiveness and the stark similarities between the structures. However mine on the other hand in my opinion is more effective. This is because the first tower is much more isolated, and takes up the majority of the frame. It is only in the third vertical that the other two and combined together and are somewhat of a shock to the viewer. The use of the rule of thirds is what makes the image much more impressive in my opinion.
Evaluation
When reflecting on my shoot, I decided that I was overall pleased with the results. I achieved all the formal elements in individual images, the one on the top right representing perspective, the bottom right illustrating lines and shapes, and finally the portrait on the left illustrating clearly the formal element of negative space. Even though the images are in black and white, I barely edited them as I consciously wanted to keep them as raw as possible. This was easy to do so because the lighting was impeccable in the early evening. I took the advice I gave myself on my last shoot and I arrived to photograph early so by the end of the shoot, the lighting and luminosity were golden.
In order to improve, I would like to have maybe collated some images of the close ups of the Barbican, focusing more of the estate and the lives people inside are living. By this, I would have approached with the camera a window or any sign of human existence in the frame, to remind the viewer that the building is not just a work of art, but a means of housing in London.
In order to improve, I would like to have maybe collated some images of the close ups of the Barbican, focusing more of the estate and the lives people inside are living. By this, I would have approached with the camera a window or any sign of human existence in the frame, to remind the viewer that the building is not just a work of art, but a means of housing in London.
Exhibition visit: Somerset House - 24/7
'A wake-up call for our non-stop world' is the tag line for the new exhibition in Somerset Souse called 24/7. It is an essential exhibition for today, exploring the non-stop nature of modern life. Many of us feel we’re working more intensively, juggling too many things, blurring our public and private lives, pushing the limits of our natural rhythms of sleep and waking. The purpose of 24/7 was to take visitors on a multi-sensory journey from the cold light of the moon to the fading warmth of sunset through five themed zones and contains over 50 multi-disciplinary works that will provoke and entertain. Rut Blees Luxemburg is one of the contributors to the exhibition. Its when I explored his work and images that I really felt a connection and relationship with my brief. Rut Blees Luxemburg (born in 1967) is a German photographer. Her technique is to take photographs at night, mostly exploring the urban landscape. Luxemburg studied photography at London College of Communication and gained her last formal education at the University of Westminster. She employs long exposures to allows her to use the light originating from the street only, for instance from office blocks or street lights. Many of Luxemburg's photographs and prints deal with nocturnal themes.
Derived from Rut Blees Luxemburg's London modern project (Highrise) - Towering Inferno, 1995
In an interview in 2009, the artist wrote, "The tower block in the picture is in the East end of London, off City Road. I took it from a balcony on the 16th floor of another building... While the camera shutter was open, people came home and turned their lights on or off. The brightest rooms either had their lights on for the longest, or they had stronger lights. And in some, you can see people watching television. In that sense, the picture is a living sculpture." The sculptural quality of the block is what makes the picture work. The lights break up the grid, but at the same time they are little illuminations, which tell us about the people who live there. This image was used on the cover of the Streets' first album, Original Pirate Material. |
"In Germany, where I'm from, we have completely different cities. In London, you don't have many high-rise blocks, so yours are very visible. But what is also interesting to me as an artist is that they provide visibility - you can look out over the city from them. So this is both a photograph of a high-rise, and a photograph from one."
This image relates to my brief of globalisation and how that relates to social housing and estates. The image itself is of an estate in East London. The particular architecture is s somewhat stereotypical for social housing. The tight and compact claustrophobic flats, the dull colours and the desperate need for housing for me, shines through in the photograph.
This image relates to my brief of globalisation and how that relates to social housing and estates. The image itself is of an estate in East London. The particular architecture is s somewhat stereotypical for social housing. The tight and compact claustrophobic flats, the dull colours and the desperate need for housing for me, shines through in the photograph.
Third Development
For my second shoot I wanted to carry on my ideas of photographing poorer areas or areas of deprivation. However, I wanted to capture interesting pieces of architecture at the same time. I did some research and discovered Alexandra Estate, which is a housing estate in the London borough of Camden, North West London. It was designed in 1968 by Neave Brown of Camden Council's Architects Department. Construction work commenced in 1972 and was completed in 1978. It is constructed from site-cast, board-marked white, unpainted reinforced concrete. Along with 520 apartments, the site also includes a school, community centre, youth club, heating complex, and parkland. The estate has suffered less vandalism than many Camden estates, and it was granted Grade II listed building status on 18 August 1993, the first post-war council housing estate to be listed. It was described by Peter Brooke, then Heritage Secretary, as "one of the most distinguished groups of buildings in England since the Second World War." Camden architects sought an alternative to the high-rise blocks that most local authorities were building. Every home in the estate has its own private external space, open to the sky, in the form of a roof garden or terrace. On the left is an image of the estate when it was first built, and on the right is the estate now.
The architect of the Alexandra Estate is Neave Brown, (1929-2018) who was born in Utica, New York State. He was educated in the USA and at the Architectural Association in London. Brown built many residential houses and housing estates in England, Italy and the Netherlands. In the UK, his high-density modernist social housing was based on the principles of the London terraced house and on the notion of flexible space. Brown’s radical Alexandra & Ainsworth Estate is the most famous of the social-housing schemes completed in the London Borough of Camden during its architectural “Golden Age” in the 1960s – others include the Dunboyne Estate, also by Neave Brown, Benson & Forsyth’s Branch Hill and Maiden Lane, and Peter Tabori’s Highgate New Town.
Brown believed that every home should have its own front door and its own private external space, open to the sky, in the form of a roof garden or terrace. It was these ideas that he incorporated to such striking effect at Alexandra Road. The estate incorporates a dramatic centrepiece, a 350m-long curving pedestrian street lined on either side by stepped terraces that extend along its full length. In addition to teaching at several schools in England, Europe and America, Brown held many prestigious positions including Vice President of the Architectural Association (1972-74).
The architect of the Alexandra Estate is Neave Brown, (1929-2018) who was born in Utica, New York State. He was educated in the USA and at the Architectural Association in London. Brown built many residential houses and housing estates in England, Italy and the Netherlands. In the UK, his high-density modernist social housing was based on the principles of the London terraced house and on the notion of flexible space. Brown’s radical Alexandra & Ainsworth Estate is the most famous of the social-housing schemes completed in the London Borough of Camden during its architectural “Golden Age” in the 1960s – others include the Dunboyne Estate, also by Neave Brown, Benson & Forsyth’s Branch Hill and Maiden Lane, and Peter Tabori’s Highgate New Town.
Brown believed that every home should have its own front door and its own private external space, open to the sky, in the form of a roof garden or terrace. It was these ideas that he incorporated to such striking effect at Alexandra Road. The estate incorporates a dramatic centrepiece, a 350m-long curving pedestrian street lined on either side by stepped terraces that extend along its full length. In addition to teaching at several schools in England, Europe and America, Brown held many prestigious positions including Vice President of the Architectural Association (1972-74).
What struck me the most about the estate was the architecture and the design. I found it fascinating that instead of a 'traditional' and 'stereotypical' estate that is a vertical immense tower block, the Alexandria is more of a somewhat 'horizontal' estate, which only consists of 2 or 5 stories, which is however is incredibly long in depth and distance. The structure at first seemed to me as giant Lego pieces.
The estate consists of three parallel east-west blocks, and occupies a crescent-shaped site bounded on the south by Boundary Road, London Road on the east, Abbey Road on the west. The desire to control the sound and vibration from passing trains was a major consideration in the layout of the estate.
The estate consists of three parallel east-west blocks, and occupies a crescent-shaped site bounded on the south by Boundary Road, London Road on the east, Abbey Road on the west. The desire to control the sound and vibration from passing trains was a major consideration in the layout of the estate.
Simon Kennedy
Simon Kennedy is a London-based photographer specialising in architecture and interiors. Kennedy’s photographic vision developed in a unique way – years of working as a qualified architect combined with teaching post-graduate architectural studies at The Bartlett School Of Architecture. This experience has given him a unique understanding of architecture, and a highly insightful photographic vision which continues to develop and be informed by his teaching practice at the Bartlett and by collaborations with various architects. More than fifteen years of experimentation have informed Simon’s current photographic techniques.
Simon’s work has been exhibited and published widely, and his recent clients include The BBC, Sheppard Robson Architects, Hopkins Architects and MacCormac Jamieson Prichard Architects (MJP Architects).
Simon’s work has been exhibited and published widely, and his recent clients include The BBC, Sheppard Robson Architects, Hopkins Architects and MacCormac Jamieson Prichard Architects (MJP Architects).
Simon Kennedy uses cutting edge equipment is combined with a hybrid workflow which enables him to deliver extremely high resolution digital images of uncompromising quality quickly and cost-effectively. He often uses lines and shapes to create successfully compositions which make his images particularly effective. Colours and tones are quite bleak and unsaturated. This creates an eerie effect as well highlighting the dereliction in the particular location. The location in which Kennedy shot these images is in a large estate in Elephant and Castle, which has unfortunately been knocked down since.
Simon Phipps
Even though this may be my third development of my artist study on Simon Phipps, I wanted to study and analyse the images below becaue they were taken in the same location in which I will be shooting for this development. These photographs are of the Alexandra Estate. They are beautifully-shot black and white images part of Phipps's project ‘Brutal London’, which offers an exploration of the post-war modernist architecture of London.
Brutalism is known as the 'Marmite of Architecture', however Simon Phipps captures and photographs the beauty and the effortlessness of this form in a new and surprising way. The low-rise, high-density design of the Alexandra Road Estate stands out his images above. Even though all the images are taken in the same location, they are all uniquely different, illustrating the sheer diversity of the Alexandra Estate. The image on the left seems to be the beneath the centre and right image, as you can tell from the shape and structure of each individual apartment. The line of symmetry in the central photo emphasizes a more industrial look and feel. The effect of the photos being in black and white makes the concrete structures look more brutal and imposing to the landscape making it clear that it could not be naturally occurring and that it is imposing. Phipps here focuses on lines to create a slight abstract feel to his images. His photographs, part of the project 'Brutal London' illustrate the beauty and the importance of this brutal estate in an era of high-rise social housing.
My Response
For my response at Alexandra Estate, I want to incorporate some of his techniques through my images. Kennedy uses lines and shapes to create a successful composition and Phipps turns his images black and white to contrast the lines and illustrate clearly the formation and characteristics of the unique architecture. Overall, both of the photographers focus on lines and shapes, and my aim was to do the same. When I went to the estate, there was a bright sunshine which was quite intense. Consequently, the images were quite sharp, vibrant, warm and saturated. Even though this weather definitely intensified lines and shadows, it did not fit in with the eerie effect of Simon Kennedy's images, however coincided well with those of Phipps. There certainly must have been a fog on the day of Kennedy's shoot, and I shot on a crystal clear day. Therefore, I did used the sunny day to my advantage and focused on the ornate unique architecture of Alexandria, just like Phipps did.
One area of the estate that I was surprised to encounter was the underground garage and walkways of Alexandria. Even though I found this environment incredibly eerie and fascinating, I decided that the images I took it did not relate to my theme and brief of the housing element of estates.
One area of the estate that I was surprised to encounter was the underground garage and walkways of Alexandria. Even though I found this environment incredibly eerie and fascinating, I decided that the images I took it did not relate to my theme and brief of the housing element of estates.
Artist and me
The similarities both my images and Kennedy's ones have is perspective. When photographing our images, we both use the depth and immensity of the estate to our advantage, through effectively composing our camera with depth and lines in the frame. The formal element perspective is imperative in architectural photography. Both Kennedy and myself use horizontal and vertical lines in our image. My vertical lines are through the pavement, walls and railings, in the foreground of the image which all end up accumulating in the centre of the frame. Kennedy uses vertical lines through the pavement and the building. Even though they are used differently to how I use them in my photo, these lines also create the element of perspective I have used. Furthermore, the use of vertical lines in my image is in the background, in the unique brutalist architectural style of the famous Alexandra facade. Kennedy also uses vertical lines, but with the trees in centre frame. Even though they may be slightly distorted, they create a stark juxtaposition to his horizontal lines and possibly softens the overall impression, due to the presence of nature in this concrete 'jungle'.
Evaluation
When reflecting upon my shoot, I was overall happy with the results. I did this shoot in the Alexandra Estate to continue my exploration of the different housing estates in North London. I also wanted to photograph more famous, typically brutalist structures from the post-war period.
Even though my images may not coincide greatly with those of Simon Kennedy, I think that they are somewhat independent and not overly inspired by the artist, meaning that I explored my own style with Kennedy's guidelines. I think that my images related more with those of Simon Phipps because of the black and white effect I added when editing and my predominent focus on the shapes within the estate.
I used Photoshop to increase the contrast and the severity of these lines in the structure. I also turned the image into a monochrome photograph to create a more dramatic contrast. I think that this move was successful in making the image more eye-catching. I also wanted to exaggerate the structure's brutalist architectural style, like in my previous shoot, to shock the viewer that this is in fact a residential building, as it looks like an abstract piece of art. This alien and absurd feel I gave the images through the editing process however is drifting slightly on the theme. I will work of leaving my images in colour in the future and to make them more realistic and natural looking, as I think they look obviously heavily edited. The viewer may view my images in perhaps a biased way.
Even though my images may not coincide greatly with those of Simon Kennedy, I think that they are somewhat independent and not overly inspired by the artist, meaning that I explored my own style with Kennedy's guidelines. I think that my images related more with those of Simon Phipps because of the black and white effect I added when editing and my predominent focus on the shapes within the estate.
I used Photoshop to increase the contrast and the severity of these lines in the structure. I also turned the image into a monochrome photograph to create a more dramatic contrast. I think that this move was successful in making the image more eye-catching. I also wanted to exaggerate the structure's brutalist architectural style, like in my previous shoot, to shock the viewer that this is in fact a residential building, as it looks like an abstract piece of art. This alien and absurd feel I gave the images through the editing process however is drifting slightly on the theme. I will work of leaving my images in colour in the future and to make them more realistic and natural looking, as I think they look obviously heavily edited. The viewer may view my images in perhaps a biased way.
Fourth Development
For my third shoot, I travelled to the south of France to the Mediterranean coast. I arrived In La Seyne Sur Mer, a small town in the Var region located on the French Riviera. I frequently visit this town as it is where my mum's side of the family is from. I have been conscious of a place that I frequently passed by when travelling by car on the main motorway linking La Seyne Sur Mer to Toulon, its neighbouring, bigger town. That place is made up of two large and cramped tower blocks of affordable housing. I immediately thought that it looked similar to one Andreas Gursky's photographs. Below is a map of La Seyne, to give an idea of its location:
Andreas Gursky: Paris, Montparnasse 1993
'Paris, Montparnasse' is a composition made up of a highly dense apartment building on the left bank of the Seine river. It is one of the most famous images in contemporary photography: a monumental print, 2m high and more than 4m wide which resembles a painting. Gursky was the first photographer to produce such large prints. Seemingly, the panoramic composition presents a single façade of this striking Modernist building, which was constructed between 1959 and 1964. Gursky has taken many separate shots from two viewpoints.
The image also reveals Gursky’s interest in architecture and urban life, whether in the built environment or in social contractions. The photograph analyses the realities of contemporary living, exploring growing populations, migration and overpopulation. Montparnasse is one of Gursky’s initial attempts in digital manipulation, of which he started experimenting in 1992. Gursky’s process in obtaining an effective image is that he often takes a variety of different chromogenic images from different viewpoints. He then scans these images directly into his computer so he can digitally manipulate them by merging them together. His main aim in creating images like this is to portray the heightened version of something that already exists in world cities, rather that creating a fictitious composition. He does this to create an alarming vision through the viewer and to empathise the significant problems we face as humanity.
Furthermore this large and simplistic structure is perhaps a euphemism on the life we all lead, as Gursky puts across his views on capitalist society. From the perspective of someone who does not live in these conditions, we look at Montparnasse as a whole and don't really think about the residents of the building as individuals. This photograph, addresses not only the issues of overpopulation and inadequate living conditions, but also that the world's lack of individualism.
The image also reveals Gursky’s interest in architecture and urban life, whether in the built environment or in social contractions. The photograph analyses the realities of contemporary living, exploring growing populations, migration and overpopulation. Montparnasse is one of Gursky’s initial attempts in digital manipulation, of which he started experimenting in 1992. Gursky’s process in obtaining an effective image is that he often takes a variety of different chromogenic images from different viewpoints. He then scans these images directly into his computer so he can digitally manipulate them by merging them together. His main aim in creating images like this is to portray the heightened version of something that already exists in world cities, rather that creating a fictitious composition. He does this to create an alarming vision through the viewer and to empathise the significant problems we face as humanity.
Furthermore this large and simplistic structure is perhaps a euphemism on the life we all lead, as Gursky puts across his views on capitalist society. From the perspective of someone who does not live in these conditions, we look at Montparnasse as a whole and don't really think about the residents of the building as individuals. This photograph, addresses not only the issues of overpopulation and inadequate living conditions, but also that the world's lack of individualism.
Andreas Gusky: Amazon, 2015
In this photo we can see the Amazon warehouse in Phoenix, Arizona. This photo was also a montage made up of multiple photos taken by Gursky. The fragmented landscape we can see with the abundance of products shows how we live in an age of excessive consumerism which causes much chaos not just in the warehouse, this could be the message of the photo as it shows how consumerism is everywhere and taking over, also as the photo has been edited to make it look more chaotic gives it a negative feel as there is so much going on that it could make the spectator feel overwhelmed. This is emphasised as there is no clear focal points in the photo adding to the chaos as it is unclear to the spectator where to look, the bright colours of all the products further add to the hectic impression we get.
Even though Amazon shows consumer goods in a warehouse, and it may not seem that this directly relates to my brief and theme, this image is still significant to me when analysing the artist's work and being inspired by it. The way this image is so intense, demonstrating large scale human 'needs', as well as immense, repetitive and inherently alarming levels of production, relates to my theme of overpopulation, overcrowding and ultimately, lack of sustainability.
Even though Amazon shows consumer goods in a warehouse, and it may not seem that this directly relates to my brief and theme, this image is still significant to me when analysing the artist's work and being inspired by it. The way this image is so intense, demonstrating large scale human 'needs', as well as immense, repetitive and inherently alarming levels of production, relates to my theme of overpopulation, overcrowding and ultimately, lack of sustainability.
My Response
Having family from this part of the world has made me become very familiar with the area. The apartment blocks I went to photograph had been known to me subconsciously for many years. It was only when I decide to base my practical work of the theme 'Globalisation', that this place and its phenomenon appeared almost instantly in my mind. For me, the sheer size of the two buildings had always been impressive, stricking and somewhat unsuitable for human scale. As soon as I saw for the first time Gursky's 'Montparnasse' I made connection with that place in La Seyne; both poorly built, inhumane cramped housing for those who were often either immigrants or the urban poor. It felt to me that those that came to France for a better life, ended up and trapped in these council homes.
The official name for these apartments are "Habitation à Loyer Modéré du Pont du Las". My great grandma used to call this place "les cages à poules" (translates to chicken cages) because the flats were so tightly packed. It was built in the 1962 when there was a large shortage for affordable housing. The council wanted to build something cheap and quickly so they invested into two large, cramped and isolated tower blocks by a new motorway. At first, 90% of the residents of the tower blocks were of an Algerian, Tunisian or Moroccan background (known as Magrébins in french), and were newly arrived immigrants to La Seyne. The blocks are almost entirerly empty now. This is because residents have decided that they cannot bear the conditions. These flats are completely isolated from local shops and facilities, and the rise in crime and antisocial behaviour has influenced the decision of many to leave.
How does this link to globalisation? Globalisation has accelerated and facilitated for the growth of global flows, including migration. Migration flows have existed for hundreds of years, as people seek for new and better life opportunities. These tower blocks were build, for newly arrived immigrants.
When shooting, I wanted to get a perfect front facing view of the tower blocks. There was a small hill, directly opposite the subject, however it was heavily occupied mostly by an industrail estate, so it was difficult to find a clear view. The two tower blocks are actually located right next to the motorway, so I ended up standing along the motorway nearest embankment in order to capture the building.
The official name for these apartments are "Habitation à Loyer Modéré du Pont du Las". My great grandma used to call this place "les cages à poules" (translates to chicken cages) because the flats were so tightly packed. It was built in the 1962 when there was a large shortage for affordable housing. The council wanted to build something cheap and quickly so they invested into two large, cramped and isolated tower blocks by a new motorway. At first, 90% of the residents of the tower blocks were of an Algerian, Tunisian or Moroccan background (known as Magrébins in french), and were newly arrived immigrants to La Seyne. The blocks are almost entirerly empty now. This is because residents have decided that they cannot bear the conditions. These flats are completely isolated from local shops and facilities, and the rise in crime and antisocial behaviour has influenced the decision of many to leave.
How does this link to globalisation? Globalisation has accelerated and facilitated for the growth of global flows, including migration. Migration flows have existed for hundreds of years, as people seek for new and better life opportunities. These tower blocks were build, for newly arrived immigrants.
When shooting, I wanted to get a perfect front facing view of the tower blocks. There was a small hill, directly opposite the subject, however it was heavily occupied mostly by an industrail estate, so it was difficult to find a clear view. The two tower blocks are actually located right next to the motorway, so I ended up standing along the motorway nearest embankment in order to capture the building.
Evaluation
On reflection, I am happy with my shoot and it is perhaps the developments that link the most to my main theme as it is inspired by Andreas Gursky, who is one of the artists I explored and analysed in my curatorship task. The fact that I timed this shoot to be on a bright sunny morning made the lighting very intense and highlighted every aspect, relief and crevass of the housing block. The almost infinite repetition of the small window frames is incredibly effective in highlighting the desperate need of housing at the time this was built in 1962, because of the dramatic increase of immigration in the thirty years post WW2 ('Les Trentes Glorieuses') in order to repopulate France and to restore its troubled and battered economy to its full capacity.
The white facade provides a dramatic contrast with the mellow deep blue sky, which made the image even more powerful and accentuates the building's details. Furthermore, my ability to zoom allows the viewer to distinguish every single flat in the building, through their unique and individual balconies. In addition, the first image involves two of the housing blocks, specifically a large view of one and the beginning section of the other, to alert the viewer that there must be a lot much more of this tight accommodation than just what is shown the frame.
To improve, moving forward, I would perhaps take images from different angles to create different, and perhaps even more dramatic, depictions of the scale of the housing estate. As I cannot return to this location, I will use photoshop in my next development to try and achieve this.
The white facade provides a dramatic contrast with the mellow deep blue sky, which made the image even more powerful and accentuates the building's details. Furthermore, my ability to zoom allows the viewer to distinguish every single flat in the building, through their unique and individual balconies. In addition, the first image involves two of the housing blocks, specifically a large view of one and the beginning section of the other, to alert the viewer that there must be a lot much more of this tight accommodation than just what is shown the frame.
To improve, moving forward, I would perhaps take images from different angles to create different, and perhaps even more dramatic, depictions of the scale of the housing estate. As I cannot return to this location, I will use photoshop in my next development to try and achieve this.
Fifth Development
After reflecting on my shoot, I decided I wanted to develop the images I took even further to emphasize the theme of overpopulation. I looked closely again at Gursky's Montparnasse and I decided to use photoshop in the same way he did, to expand a building to accentuate this idea of an overcrowded world. I put my images into to photoshop, and played around a bit and used the stamp tool to copy and paste some of the existing building to make it look more immense and dense, almost superimposed.
Before photoshop:
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After photoshop:
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Using Photoshop
As I could not return to the location and conduct as second response where I would have liked to create a more immense feel and perspective of the structure, I decided that instead I could achieve this exaggeration and hyperbole by using photoshop.
Firstly, I made sure that the image was bright and contrasted to empathise clearly its architecure and design. One of my images was also underexposed so this tackled that specific problem. I then explored with the stamp. I extracted or copied elements of the building, and then pasted them onto the sky to expand and accentuate the structure to target and exemplify the element of overpopulation and how this has facilited the need for social housing, and subsequently led to awful living conditions.
Artist and me
Both mine and Gursky's images have many similarities, and a few differences. We both used the same angle and composition, through photographing the building straight on, However mine was at a slightly lower angle because I was unable to reach higher ground and photograph the subject straight on. Furthermore, the building type and architecture is incredibly similar. Both images reflect high density housing estates in France that were built for the same purpose, so perhaps that is why their architecture is so similar, tight and compact as appartments. However, one clear difference is that Gursky's image is on a larger scale and involves a lot more in the frame, my image is quite zoomed-in. In addition another distinctive contrast is that Gursky has far better photoshop skills than me, that is something that I need to improve on.
Evaluation
Even though I think this development has been successful in emphasizing the building and the theme of overpopulation, if you look closely at my outcomes, my Photoshop skills are not the best. This however is not very noticeable. In order to improve, I will need to improve my Photoshop skills and perhaps follow tutorials online in order to do so.
At this point on my developments, I am stuggling in thinking on how to further develop my theme and what I can do differently in my shoots. Moving on from this, I will have to brainstorm in order to work out how my project will evolve into a final piece.
At this point on my developments, I am stuggling in thinking on how to further develop my theme and what I can do differently in my shoots. Moving on from this, I will have to brainstorm in order to work out how my project will evolve into a final piece.
Flow diagram of my developments so far
I made a flow diagram of my developments so far to see where I am at in my portfolio and to conclude and evaluate what I have achieved so far into my brief. I think that my developments have already evolved quite substantually. I have explored brutalism, the idea of overpopulation, and many different architectural styles of estates, ranging from the Barbican, the Alexandria Estate and the housing estate in the South of France.
Mind Map for future developments
After creating a flow diagram of the developments I have done so far, I thought the best way to brainstorm for new photographic ideas was to create a mind map. I wanted to reach out as far as possible to explore the different compositions and projects which may relate to council estates. I used Pinterest to discover new artists and their photographs.
Sixth Development
Laurent Kronental is a french photographer that was born in 1987. He now works in Paris. Kronental is a self-taught photographer, who said that he "discovered photography" in China during a stay of several months in Beijing. He has been captivated by the "big metropolises" there and by the variety of their architectures, their inhabitants, "the way they tame the space and their personal stories". He has developed from 2011 to 2015 his first artistic series, "Souvenir d'un Futur" (souvenirs of a future), on the elderly living in the large estates of the Paris region. Souvenir d’un Futur is an ongoing project for Laurent, in the hope that the Grand Ensembles and the residents who live there will be recognised. The photographer intends to question us on the condition of seniors in these places in highlighting a sometimes neglected generation. He pushes forward another look on often underestimated suburban areas whose walls seem slowly to get older and carry with them the memory of a modernist utopia.
Immediately after the Second World War, a series of apartment complexes sprouted across Paris and the surrounding suburbs in response to the housing crisis, urban migration and the inflow of foreign migrants while meeting modern comfort needs. These large scale estates are often over stigmatised by the media and marginalised by public opinions. In sharp contrast to these cliché views, photographer Laurent Kronenta was fascinated by these projects' dated modernistic features. Massive in scale, the suburban apartments were a perfect subject for Laurent Kronental, who began his series 'Souvenir d'un Futur'.
Kronental was moved by the living conditions of urban veterans who have aged there, and who are a memory and a legacy of the site. He documented the living quarters, as well as the residents of each complex. Kronental shoots mainly during the early morning “to emphasise this feeling of a post apocalyptic world”, to display the overwhelming volume of these buildings with their structures illuminated from the rising sun. and each image usually included people. The buildings appear to be abandoned. The people he photographed were long-term veterans who have lived and aged alongside the Grands Ensembles, which are large-scale high-rise housing projects, widely regarded as the products of postwar French government policy in the areas of regional and urban planning. The result is a spellbinding series of large-format film photographs that showcase a vision of the future, and a lasting testament to those who have stood beside the often-critiqued skyscrapers.
In summary according to Kronental, the series captures “the passing of time, these massive grey buildings, like their elderly residents, bearing signs of long lives. And yet, in these wrinkled faces and cracked walls, in the energy of the bodies and of the facades, emerges the pride and pulse we thought had disappeared.” Laurent wanted others to discover the housing projects and see the beauty he saw. "I hope they feel fascination and curiosity with regard to these constructions.” To achieve this sense of awe, Laurent went directly to the residents whose “open-mindedness, curiosity, the ability to listen, the desire to share and to help,” allowed this project to take form. The way Laurent speaks of the inhabitants he has spent time with is captivating, with his friendship and care for them clear both behind and in front of the lens. These photographs on first glance appear unreal, almost resembling a film set. Yet once you recognise and unfold the story each shot displays and the personalities Laurent has captured, an authentic and considerate photographic series is evident.
Kronental was moved by the living conditions of urban veterans who have aged there, and who are a memory and a legacy of the site. He documented the living quarters, as well as the residents of each complex. Kronental shoots mainly during the early morning “to emphasise this feeling of a post apocalyptic world”, to display the overwhelming volume of these buildings with their structures illuminated from the rising sun. and each image usually included people. The buildings appear to be abandoned. The people he photographed were long-term veterans who have lived and aged alongside the Grands Ensembles, which are large-scale high-rise housing projects, widely regarded as the products of postwar French government policy in the areas of regional and urban planning. The result is a spellbinding series of large-format film photographs that showcase a vision of the future, and a lasting testament to those who have stood beside the often-critiqued skyscrapers.
In summary according to Kronental, the series captures “the passing of time, these massive grey buildings, like their elderly residents, bearing signs of long lives. And yet, in these wrinkled faces and cracked walls, in the energy of the bodies and of the facades, emerges the pride and pulse we thought had disappeared.” Laurent wanted others to discover the housing projects and see the beauty he saw. "I hope they feel fascination and curiosity with regard to these constructions.” To achieve this sense of awe, Laurent went directly to the residents whose “open-mindedness, curiosity, the ability to listen, the desire to share and to help,” allowed this project to take form. The way Laurent speaks of the inhabitants he has spent time with is captivating, with his friendship and care for them clear both behind and in front of the lens. These photographs on first glance appear unreal, almost resembling a film set. Yet once you recognise and unfold the story each shot displays and the personalities Laurent has captured, an authentic and considerate photographic series is evident.
My Response
After looking at digital manipulation, I realised I was not as successful as I wanted to be, so I referred back to my theme of 'globalisation' and decided to do more brainstorming. Up until now, I had only done architectural photography, and used photoshop to accentuate the housing problem the world faces as the population grows rapidly. I wanted to still go around and photograph different estates around London, and continue to illustrate overpopulation, but I also became interested in photographing the people involved in it and the subsequent consequences they have faced on a daily basis, whether that be where they live, what they have encountered but also who they are and their own personal history. I then stumbled across the work of Laurent Kronenta, who illustrates the perfect relationship between an estate and its inhabitants in his project 'souvenir d'un futur' . In effect, I decided that the best way to do that was through portraiture and small, rapid interviews whilst also incorporating the architecture of the place in which they live.
Whittington is just one of many housing estates built in the postwar years after bombing destroyed much housing in London and other cities, such as Sheffield. There was also a need to replace slum housing and tenement buildings, which were in poor condition and often did not have bathrooms. In particular, the borough of Camden saw a “golden age” of modernist estates in the 1960s and 1970s under the council’s head architect, Sydney Cook. Often influenced by the style of the French architect Le Corbusier, brutalism from the 1950s onwards was defined by its Breton But (raw concrete), repetitive features, and focus on space and light.
This idea came to me when I went to photograph in my next location. The first male I approached to ask if I could photograph him was very talkative and engaging. He began telling me much about the Estate, its history and the problems he has encountered living there, as well as why he also liked the community around him. This made me think about the concept of mini interviews and questionnaires, and how they would be a perfect addition to what I am currently working on.
This idea came to me when I went to photograph in my next location. The first male I approached to ask if I could photograph him was very talkative and engaging. He began telling me much about the Estate, its history and the problems he has encountered living there, as well as why he also liked the community around him. This made me think about the concept of mini interviews and questionnaires, and how they would be a perfect addition to what I am currently working on.
I first began to photograph the surroundings and the unique post-war architecture of the estate. I found myself being fascinated by the different shapes and lines incorporated in the structure. All of the lines were very angular, rather than soft. Which made me wonder why such oblique and linear architecture is so common in housing estates, is it simple because this architectural style is cheaper to construct? or because the tight, compact living space within it, seems suitable and practical to build for planners and architects, even though it brings great disadvantages, including feeling claustrophobic, crime and antisocial behaviour?
The photographs were taken on a very bright winter morning.
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Using Photoshop
I did something slightly different in the editing process, which I was keen to experiment with. I decided to make the background of the portraits I took less saturated to focus more on the person being photographed. Above is a step-by-step guide through how I achieved this, but let me explain in more detail below:
1. Firstly, I hovered on images > Adjustments > Vibrance/hue and saturation and I increase the overall brightness of the image by 5-10%
2. Then, I used the quick selection tool, which resembles a paint brush and I selected only the area surrounding the subject, so the whole surroundings of the person.
3. Once I had selected everything using the quick selection tool, I went to images > Adjustments > Vibrance/hue and saturation and I decreased the saturation of the area selected by 5-10%
I repeated this same step with every portrait of this shoot.
1. Firstly, I hovered on images > Adjustments > Vibrance/hue and saturation and I increase the overall brightness of the image by 5-10%
2. Then, I used the quick selection tool, which resembles a paint brush and I selected only the area surrounding the subject, so the whole surroundings of the person.
3. Once I had selected everything using the quick selection tool, I went to images > Adjustments > Vibrance/hue and saturation and I decreased the saturation of the area selected by 5-10%
I repeated this same step with every portrait of this shoot.
Douglas has been living at the Whittington Estate since 1981, He is probably one of the lost loyal residents of the estate. His flat is located next to Highgate cemetery, close to the resting place of famous English singer, songwriter, record producer, and philanthropist George Michael. As well as the well known German philosopher, economist, historian, sociologist, political theorist, journalist and socialist revolutionary, Karl Marx (to which him and the other inhabitants of the Whittington call grandfather).
Douglas said that the whole estate has been trying to tackle a constant heating problem, and that Camden council have repeatedly failed to solve the issue. Douglas also pointed out problems in the architecture and design of the estate. He said that almost all of the buildings are not actually resting on the ground, they are on stilts, which he thought was very odd and strange. He also mentioned that there is an immense amount of space which is not used underneath the walkways and residential buildings. He said these dark and gloomy areas used to be riddled with crime and antisocial behaviour and used to thoroughly affect the residents' well being. To resolve the issue, large metal gate were installed which gave only the residents access to the area. He enjoys spending his time by going to the Whitestone pond observatory, to continue practicing his life long passion, astronomy.
Douglas said that the whole estate has been trying to tackle a constant heating problem, and that Camden council have repeatedly failed to solve the issue. Douglas also pointed out problems in the architecture and design of the estate. He said that almost all of the buildings are not actually resting on the ground, they are on stilts, which he thought was very odd and strange. He also mentioned that there is an immense amount of space which is not used underneath the walkways and residential buildings. He said these dark and gloomy areas used to be riddled with crime and antisocial behaviour and used to thoroughly affect the residents' well being. To resolve the issue, large metal gate were installed which gave only the residents access to the area. He enjoys spending his time by going to the Whitestone pond observatory, to continue practicing his life long passion, astronomy.
Artist and me
There are many similarities and differences between mine and Laurent Kronental's image. Firstly, our subjects are both of a similar elderly age group, which is extremely effective I think as it illustrates that perhaps they have been residents of the estate for a very long period of time. Furthermore, in both of our images, the subject is not looking directly into the camera, the two elderly men look very pensive in avoiding direct eye contact with the camera, which is extremely moving. In addition, both of the elderly men are photographed in their places of residence, their estates. Even though they may be in different nations and of different nationalities, they both share the same experiences and relate closely to their environments.
Evaluation
I am very pleased with how the images turned out. The fact that the shoot was on a bright sunny morning meant that there was very good lighting. The repetition between the images linked all the residents. To improve, I would perhaps zoom out of the image more to include more of the background and the estate environment. Furthermore, I would have liked to photograph more residents of the estate to get a clearer idea on its diversity and its demographic identity. Before photographing a person, I asked and made sure also that they were a resident.
The most fascinating quality of Laurent Kronental’s project 'souvenir d'un futur' is his ability to mix and integrate quite daunting photographs of architecture and distinctive portraits of its inhabitants into a cohesive whole. This is something I am keen to improve on in my next coming developments.
The most fascinating quality of Laurent Kronental’s project 'souvenir d'un futur' is his ability to mix and integrate quite daunting photographs of architecture and distinctive portraits of its inhabitants into a cohesive whole. This is something I am keen to improve on in my next coming developments.
Seventh Development
For my sixth development, I took myself to visit another estate, this time one in Gospel Oak called the Ludham estate. This estate, along with many estates in Gospel Oak were designed by McManus and Partners of the London Borough of Camden in the the 1960s and the 1970s. Ludham was one of the hundreds of estates all over the UK which were built as part of the post-war redevelopment. Materials used to construct the estate were reinforced concrete frames, buff brick cladding, brown windows (now replaced with uPVC) and metal mesh balconies; materials commonly used in the post was development. The colours and architecture of the estate you could say is of a typical modernist estate. The estate is comprised of 532 flats for 1521 residents, varying from one-person bedsits to nine-person maisonettes, 70% for 1,2 or 3 persons. Also shops, workshops, library, sheltered housing, community centre and a play centre. This large estate was the last of MacManus and Partners’ schemes for the Gospel Oak Redevelopment Area. Each of the redevelopment areas had been numbered and was then named when completed, but this estate was left with its somewhat futuristic label.
The design consists of long terraces, mainly of four storeys, built over underground car parks. But there are no pedestrian decks and entrance is at ground level. The blocks remain separate with no attempt to create a monumental whole, the original street plan being more-or-less followed. The four main terraces facing east-west are equally spaced in parallel, with Weedington Road running through the middle. The fifth long block, which includes the community centre, runs at right angles to the west forming a large public space facing Malden Road. To the north there are two shorter blocks and a terrace of workshops next to the railway. To the south, on Queen’s Crescent, another block houses the library below sheltered housing, and there is a terrace of shops with two floors of workshops above.
The design consists of long terraces, mainly of four storeys, built over underground car parks. But there are no pedestrian decks and entrance is at ground level. The blocks remain separate with no attempt to create a monumental whole, the original street plan being more-or-less followed. The four main terraces facing east-west are equally spaced in parallel, with Weedington Road running through the middle. The fifth long block, which includes the community centre, runs at right angles to the west forming a large public space facing Malden Road. To the north there are two shorter blocks and a terrace of workshops next to the railway. To the south, on Queen’s Crescent, another block houses the library below sheltered housing, and there is a terrace of shops with two floors of workshops above.
The flats designed for families are either on the ground floor, where they have their own garden, or on the third floor, where they have a large room-sized roof terrace. The flats in between, on the first and second floors, are for single people or couples. There are continuous narrow balconies on both sides, and nearly all the flats are dual aspect. Because the buildings are deep many of the rooms are long and narrow divided by two-panel sliding partitions, planning reminiscent of Le Corbusier’s Unité d’Habitation in Marseille.
In 1980, only a year after completion, defects were found in the top-floor windows and in the balconies and, after some unsatisfactory remedial work, writs were issued by Camden. The situation wasn’t resolved until 1989 when damages were awarded to Camden.
In 1980, only a year after completion, defects were found in the top-floor windows and in the balconies and, after some unsatisfactory remedial work, writs were issued by Camden. The situation wasn’t resolved until 1989 when damages were awarded to Camden.
My Response
When going to Ludham, I still wanted to carry on capturing both a combination of the architecture, the place and the people living there. This was purely to create a sense of the type of environment resident were living in. Every person I approached was very friendly. I also conducted mini questionnaires on every resident I photographed. When photographing the residents, I decided to change something in the photograph, and do it in a slightly different way comparing to the Whittington estate. Instead, of placing and guiding the person in a specific way, whether that may be in the way they are standing or where they are looking. Instead, I wanted to just photograph the residents in the midst of what they were doing, whether that may be opening the door or walking to create a slightly more natural feel to the images. For example, one of the images I captured someone who was opening the door into the estate whilst I was photographing him.
Using Photoshop
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When I first started shooting in this new location, I continues to photograph the surroundings. Ludham has different architecture to The Whittington, which is more of a brutal style. In my eyes, Ludham's architecture relates more to one of a council estate. It simplicity and sheer sale illustrates clearly the need for social housing at the time of its planning and construction, in the 1960s and 1970s. When editing these specific images, simply edited them on photoshop to correct any areas that were perhaps overexposed, underexposed or just needed brightening. I achieved this by selected the targeted area, hovering the mouse over: image > Adjustments > Levels. To balance out luminosity. |
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Using Photoshop
After my fifth development, I wanted to explore the same editing process and making the background less saturated to focus more on the person being photographed. So, I continued to do so and went on and dimmed the vibrance of my first image of the man in the leather jacket. Once finished, however, I wanted to see what the next one would looked like if I just increased the levels of brightness of the whole image, rather than what I was doing previously. I then concluded that it looked much better that way. The vivid colours made the image overall more engaging and made the surroundings look brighter and better composed. I continued to increase the vibrance on all of my images so the only one will the dull background is the first one on the gentleman in the leather jacket.
Above on the left is the step by step process of making the background less saturated and dimmer than the subject. I achieved this through the same proccess as my previous shoot by using the 'quick selection tool' and selecting the background. Once all selected, I decreased the saturation by 100.
Above on the right however is a different photoshop process. The top half of the image was over exposed and I needed to lower the exposure. To do this I put the image into Photoshop and selected the 'quick selection tool' once again. I highlighted the over exposed area and went to image > Adjustments > levels and decreased the lighting to a suitable level that corresponded with the rest of the photograph.
Above on the left is the step by step process of making the background less saturated and dimmer than the subject. I achieved this through the same proccess as my previous shoot by using the 'quick selection tool' and selecting the background. Once all selected, I decreased the saturation by 100.
Above on the right however is a different photoshop process. The top half of the image was over exposed and I needed to lower the exposure. To do this I put the image into Photoshop and selected the 'quick selection tool' once again. I highlighted the over exposed area and went to image > Adjustments > levels and decreased the lighting to a suitable level that corresponded with the rest of the photograph.
Evaluation
I definitely felt that this shoot was somewhat of an improvement from my previous development. I made sure that I zoomed-out more and captured the whole of person, and more of the environment that they were in. I also thought that the lighting was better on this shoot as the previous images on the Whittington estate were slightly over exposed.
I am happy with my decision to stop the editing process of decreasing the saturation of the background, not the subject. I did this because I thought that it did not looked as effective as I first thought it would be. It distances the subject from their environment, but I think I have discovered that I am looking to integrate the two and illustrate the profound relationship between the resident and the place in which they live in.
To improve, I could have conducted mini interviews with the people I encountered and captured. Although I am very pleased with my images, I also would have perhaps wanted to photograph more people and get a wider diversity of ages and ethnicities.
I am happy with my decision to stop the editing process of decreasing the saturation of the background, not the subject. I did this because I thought that it did not looked as effective as I first thought it would be. It distances the subject from their environment, but I think I have discovered that I am looking to integrate the two and illustrate the profound relationship between the resident and the place in which they live in.
To improve, I could have conducted mini interviews with the people I encountered and captured. Although I am very pleased with my images, I also would have perhaps wanted to photograph more people and get a wider diversity of ages and ethnicities.
Eighth Development
The Estate I went to for my seventh development is the Andover Estate in Finsbury Park, North London. I falls into the London Borough of Islington and is located near Holloway. The oldest section of the estate along Andover Road was built in 1938. The newer buildings, which make up the majority of the estate, were built from 1973 to 1979. This area of Holloway was rebuilt after streets of old housing were knocked down in the 1960s. When the estate was built it was seen as a model housing estate, and provided over 1000 homes in an area of high deprivation.
Three large uniquely designed triangular buildings rise into the sky on the estate, named Didbin, Noll and Docura Houses respectively, after local architects. Some of the blocks of dwellings were named after railway junctions: Andover, Barmouth, Chard, Methley, Rainford and Yeovil. Many similar estates were built at the same time, such as the nearby Elthorne Estate that was designed quite similarly in the mid-1970s but unlike Andover's three big blocks didn't have any high rise development. Other nearby housing estates, Six Acres Estate, Harvist Estate, and Elthorne Estate were built when it was considered more viable to modernise rather than rebuild after the area suffered bomb damage some twenty five years earlier in World War II. Although the building is seen as an iconic form of brutalist architecture, It has not been classed of any signifucance. Although, that status may change in the next few years.
The estate was subject to a 2007 ITV documentary 'Ann Widdecombe v The Hoodies' in which the local MP spent a night in one of the flats to highlight the supposed problem of youths causing trouble. The youth of Andover Estate then got together with a London film maker, Michelle Golding, to produce a film rebutting the Ann Widdecombe programme. Young residents put across their side of the story to demonstrate that they are more likely to be victims of crime than perpetrators.
The film highlights the actual reduction in crime on the estate over the last couple of years and the problem of much of the crime being committed by non-residents. After the documentary was screened, however, a cross-party group of councillors wrote to local papers to register their belief that Widdecombe had exaggerated conditions for the estate's residents and had provoked youths with the style of her questioning.
The film highlights the actual reduction in crime on the estate over the last couple of years and the problem of much of the crime being committed by non-residents. After the documentary was screened, however, a cross-party group of councillors wrote to local papers to register their belief that Widdecombe had exaggerated conditions for the estate's residents and had provoked youths with the style of her questioning.
The Andover is also known for its negative reputation through the media. In early March 2019, Reports were told of Andover Drug dealers grooming, using violence and threats towards children under 16 to transport drugs to coastal towns outside of London. In late October 2019, a murder investigation was launched when a women died in a fire in her flat in the Andover. There have also been stabbings in the Estate as well as muggings.
My Response
After photographing 6 consecutive estates, whether it may be their architectural surrounding or the inhabitants within them, I wanted to focus solely of the people, and their own personal experiences. I wanted to take a closer look on who they are, where they come from, why did they choose to live where they live, their demography and their own personal history.
I then decided that I would visit the residents and conduit personal interviews, asking them all these questions, as well as photographing them. I made sure they I asked the same questions to each person, to avoid any bias. I also made sure that I listened carefully to the residents as I interviewed them, allowed them to speak freely, without any interruptions so they would open up about life on the estate.
I arrived at the Andover and decided to head straight to the main central square, which is a common walkway for any residents. It also includes a playgound, the community hall and a small off-licence shop. I decided to go here because I knew that the majority of the passers by were indeed residents of the large estate. Also, I would have had a better chance of encountering more people as this is a busy communal square.
I also made sure the keep in mind Laurent Kronental’s project 'souvenir d'un futur'. Which is still relating to this development. I was inspired my Kronental's choice to ask the subject to not look directly in the camera. However, I still wanted to explore how this would look. Therefore, I decided to do a mix of the two.
I then decided that I would visit the residents and conduit personal interviews, asking them all these questions, as well as photographing them. I made sure they I asked the same questions to each person, to avoid any bias. I also made sure that I listened carefully to the residents as I interviewed them, allowed them to speak freely, without any interruptions so they would open up about life on the estate.
I arrived at the Andover and decided to head straight to the main central square, which is a common walkway for any residents. It also includes a playgound, the community hall and a small off-licence shop. I decided to go here because I knew that the majority of the passers by were indeed residents of the large estate. Also, I would have had a better chance of encountering more people as this is a busy communal square.
I also made sure the keep in mind Laurent Kronental’s project 'souvenir d'un futur'. Which is still relating to this development. I was inspired my Kronental's choice to ask the subject to not look directly in the camera. However, I still wanted to explore how this would look. Therefore, I decided to do a mix of the two.
Kristoff, his wife and his four children are all members of the Andover Estate and they have been residents for approximately ten years now. Kristoff now works as a special needs teacher and has previously worked in a kitchen and as a bike rider for tourist in Central London. Kristoff is originally from Hungary.
When I asked him about the problems in the Estate, he immediately said that he was happy there. He told me that he is very friendly with his neighbours, and he feels part of a community, which he added is rare in London, as Londoners are typically quite cold and distant.
He added, however, that the Estate does get riddled with crime in the summer months, which is why he likes to escape back to Hungary on a roadtrip with the rest of his family. He also stated that his children, especially his oldest, a 15 year old boy is cautious with his clothing to avoid being targeted by muggers. His son purposely avoids buying any brands which may look expensive, such as Nike shoes or Adidas jumpers, to illustrate to potential threats that he is a resident of the estate. This will therefore stop him from being targeted and victimised.
When I asked him about the problems in the Estate, he immediately said that he was happy there. He told me that he is very friendly with his neighbours, and he feels part of a community, which he added is rare in London, as Londoners are typically quite cold and distant.
He added, however, that the Estate does get riddled with crime in the summer months, which is why he likes to escape back to Hungary on a roadtrip with the rest of his family. He also stated that his children, especially his oldest, a 15 year old boy is cautious with his clothing to avoid being targeted by muggers. His son purposely avoids buying any brands which may look expensive, such as Nike shoes or Adidas jumpers, to illustrate to potential threats that he is a resident of the estate. This will therefore stop him from being targeted and victimised.
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Using Photoshop
My photoshop process was very cimple. I only enlighted or darkened the individual images slightly, depending on if they were either overexposed of underexposed. The majority were underexposed. To enlighten my images that were a touch too dark, I selected the while image and went to image > Adjustments > Levels/Brightness and contrast to create the desired image.
Evaluation
There were a few things that went well in this development, which were a vast improvement from my previous one. Firstly, I took many more portraits in this location, 3 more. I also think that I was successful in displaying the ethnic diversity of the Andover. Another major improvement is that I managed to carry out more in depth interviews with the passers-by. This enabled me to discover more about the Andover's residents, their everyday life on the estate and the positives and negatives that come with that.
To improve, I would have captured more details about the subject. This simply did not happen with all of them because they were either in a rush or they opposed any questions. For my next development, I think I will begin to look in more depth about individuals by perhaps focusing on one person, one couple or one family.
To improve, I would have captured more details about the subject. This simply did not happen with all of them because they were either in a rush or they opposed any questions. For my next development, I think I will begin to look in more depth about individuals by perhaps focusing on one person, one couple or one family.
Ninth Development
Robert Clayton is freelance photographer based in London, who has been in the field for over twenty years. Clayton specialises in producing imagery for design agencies, corporate companies and publishing companies, whether it be an in depth editorial profile, creative portraits or an annual report.
Photographer Robert Clayton visited the Lion Farm estate in Oldbury, West Midlands, in the early 1990s to capture the lives of the residents. Next month, his images were exhibited at a gallery in Central London. His ‘Estate’ photography from his early career has been highly acclaimed since it was published in 2015. Clayton has since undertaken a commissioned return project to the estate a generation later, focusing on the lost ideals of the post war generation, and manifest in British modernist architecture; "The empathy with and understanding of people and place is key to all my work, both commercial and personal".
Photographer Robert Clayton visited the Lion Farm estate in Oldbury, West Midlands, in the early 1990s to capture the lives of the residents. Next month, his images were exhibited at a gallery in Central London. His ‘Estate’ photography from his early career has been highly acclaimed since it was published in 2015. Clayton has since undertaken a commissioned return project to the estate a generation later, focusing on the lost ideals of the post war generation, and manifest in British modernist architecture; "The empathy with and understanding of people and place is key to all my work, both commercial and personal".
The powerful images offer a glimpse of the recent past documenting the individuals who lived on the estate and the architecture that surrounded them. As a social commentary, the exhibition is “perfectly placed to serve the public as a tacit reminder of the need for social housing and the beauty of community,” says the gallery. Cayton's documentary style of photography specialises in the changing British social landscape.
Tommy Sussex
Tommy Sussex is a documentary photographer living and working in Bristol. The images he makes attempt to render an individual social reality that carries a political weight. His process often attempts to navigate that which falls outside of expected photographic reportage, to encompass symbolic gestures and abstracted scenarios.
Over the course of several months, photographer Tommy Sussex documented the unique spirit of residents of the Knowle West neighbourhood – in particular, its network of proud matriarchal figures. The Knowle West estate is a neighbourhood of around 12,000 residents, situated at the top of a hill that overlooks the south side of Bristol. Created in the 1930s following slum clearance in the city centre, it exists as an in-between of sorts, where dense housing meets vast agricultural land. At its highest point, you can gaze over Bristol in its entirety.
In 2015, Sussex began visiting an estate in Bristol with the aim of documenting its story. Intrigued by its unique, geographical makeup – as well as the strong, identity of its residents – he soon found himself making regular trips, getting lost in its various back routes, alleys and side streets. Quickly, it became apparent to Sussex that while Bristol was constantly changing, Knowle West was – like numerous other parts of cities across the UK – finding itself left behind. “Many residents suffered from ineffective public transport and felt trapped,” he recalls.
Over the course of several months, photographer Tommy Sussex documented the unique spirit of residents of the Knowle West neighbourhood – in particular, its network of proud matriarchal figures. The Knowle West estate is a neighbourhood of around 12,000 residents, situated at the top of a hill that overlooks the south side of Bristol. Created in the 1930s following slum clearance in the city centre, it exists as an in-between of sorts, where dense housing meets vast agricultural land. At its highest point, you can gaze over Bristol in its entirety.
In 2015, Sussex began visiting an estate in Bristol with the aim of documenting its story. Intrigued by its unique, geographical makeup – as well as the strong, identity of its residents – he soon found himself making regular trips, getting lost in its various back routes, alleys and side streets. Quickly, it became apparent to Sussex that while Bristol was constantly changing, Knowle West was – like numerous other parts of cities across the UK – finding itself left behind. “Many residents suffered from ineffective public transport and felt trapped,” he recalls.
Knowle West Estate is very unique in some sense as it is very female dominated. The images have quite a high exposure and the highlights are accentuated, creating a misty look. Even though the residents have sombre faces and lifeless actions, the images are still incredibly expressive. Capturing the inhabitants's natural movements gives you an idea of their personality, their history and what kind of person they are.
My response
For my response, I visited a Vietnamese family who live in an estate. I asked them to simply ignore the camera when I was photographing them and to go about their daily life. The photoshoot was based a lot around their young 3 year-old daughter, as she took the attention from her parents. They then went to to hang up the washing and the daughter helped her parents. The shoot happened on a Sunday morning, when everyone had a day off, which is why the family were in lounge attire. I stressed very clearly to the family that I wanted them to be as natural as possible.
The subject of these final studies are mother and daughter, Thuy and Gia (pronounced Za) Han. My father was a teacher and Thuy’s husband, Chuong was someone he supported. Chuong had come alone to England not knowing the whereabouts of his family in Vietnam. Eventually, Chuong returned to Vietnam for holidays and found his family. He also found a wife in Thuy. This is Chuong’s family in the home that they have made and life that they live in North London. Chuong, the father, owns a flat on the estate in North London. He came to England from Vietnam at the age of 14 as a lone, unaccompanied asylum seeker. When he came to Britain, he settled and built a life for himself. He passed his GCSEs and went on to achieve a Master Degree in Mathematics. He is now a Maths teacher in a North London state school. Thuy works in a nail shop. In February 2017, their daughter Gia-Han was born. It was a huge celebration and achievement for the young couple.
The subject of these final studies are mother and daughter, Thuy and Gia (pronounced Za) Han. My father was a teacher and Thuy’s husband, Chuong was someone he supported. Chuong had come alone to England not knowing the whereabouts of his family in Vietnam. Eventually, Chuong returned to Vietnam for holidays and found his family. He also found a wife in Thuy. This is Chuong’s family in the home that they have made and life that they live in North London. Chuong, the father, owns a flat on the estate in North London. He came to England from Vietnam at the age of 14 as a lone, unaccompanied asylum seeker. When he came to Britain, he settled and built a life for himself. He passed his GCSEs and went on to achieve a Master Degree in Mathematics. He is now a Maths teacher in a North London state school. Thuy works in a nail shop. In February 2017, their daughter Gia-Han was born. It was a huge celebration and achievement for the young couple.
Evaluation
I think I succeeded in this shoot in illustrating the personalities and the kind of people this family were. In the first image, Thuy, the mother is comforting Gia-Han, as she seems to appear upset. The image is very powerful, in an odd way as the child's look is very sombre and sincere yet a lot is very much happening in the image. Furthermore, the lighting in the images are perfect and there was no need for them to be edited of photoshop. The fact that this was taken early in the morning is perhaps the reason why.
In the second image, the faces of the family member are slightly out of focus. To improve in my next developments, I need to adjust my aperture correctly and make sure that the correct part of the image and the frame is in focus.
I am currently enjoying focusing on one person or on people from the same family in a greater depth. The interview in this development is much more detailed as well, which is an improvement from my previous shoots.
In the second image, the faces of the family member are slightly out of focus. To improve in my next developments, I need to adjust my aperture correctly and make sure that the correct part of the image and the frame is in focus.
I am currently enjoying focusing on one person or on people from the same family in a greater depth. The interview in this development is much more detailed as well, which is an improvement from my previous shoots.
Tenth Development
In my tenth development, I will be looking closely at visual ethnography. Ethnography is defined as the scientific description of people and their cultures with their customs, habitats, and mutual differences.
Ethnography is a mode of study whose intent is to explore, record and, far more importantly, understand a given set of cultural phenomena. Ethnography and photography act as complementary tools, locating the photographic medium in the field of visual anthropology. Photography has a long and varied history in ethnography. Supported by different methodological paradigms, a camera has been an almost mandatory element of the 'tool kit' for research for several generations of ethnographers.
Ethnography is a mode of study whose intent is to explore, record and, far more importantly, understand a given set of cultural phenomena. Ethnography and photography act as complementary tools, locating the photographic medium in the field of visual anthropology. Photography has a long and varied history in ethnography. Supported by different methodological paradigms, a camera has been an almost mandatory element of the 'tool kit' for research for several generations of ethnographers.
During my research for this final work I came across this book 'A Modest Living: Memoirs of a Cockney Sikh', by Suresh Singh with contemporary photography within it. It is about my father’s brother’s good friend, Suresh and his wife Jagir. It is an illustrated, mixed study of family history and contemporary ethnography. Suresh is the child of first generation immigrants. The memoir is both a story of how Suresh and his dear wife established their own life, rooted in the home that his parents first owned in 1949.
The photographer who took the images below of Suresh and Jagir is Patricia Niven. Patricia dropped out of a photography degree at the Queensland College of Art in 1994 and ran off to explore the photography industry in Sydney. In 1997 she arrived in London and liked it too much to leave. Patricia's images have been exhibited in solo and group shows in London, Liverpool, Portsmouth, Paris and Sydney and her work is in private collections in the UK, US and New Zealand. Having received a number of awards and acknowledgments, most recently Patricia was shortlisted for the Fortnum & Mason Food & Drink Awards; Photographer of the Year 2018 is an award winning portrait photographer. The final image was shortlisted for a Food Photography Award.
The photographer who took the images below of Suresh and Jagir is Patricia Niven. Patricia dropped out of a photography degree at the Queensland College of Art in 1994 and ran off to explore the photography industry in Sydney. In 1997 she arrived in London and liked it too much to leave. Patricia's images have been exhibited in solo and group shows in London, Liverpool, Portsmouth, Paris and Sydney and her work is in private collections in the UK, US and New Zealand. Having received a number of awards and acknowledgments, most recently Patricia was shortlisted for the Fortnum & Mason Food & Drink Awards; Photographer of the Year 2018 is an award winning portrait photographer. The final image was shortlisted for a Food Photography Award.
The contemporary images of Suresh and Jagir show them together and as individuals. They highlight the benefit of face-on portraitures and capture the serenity of the couple and each one of them in their habitat.
My Response
I decided to take an ethnographic approach when focussing on the residents that I met during my preliminary studies during this project. The photos that I took of the people in their native surroundings captured the individuality and personal nature of everyone’s relationship with their home territory. I have captured a lot of the residents face-on in a paused, but neutral and mellow stance in harmony with their surroundings. Regardless of the architecture or urban form, there has been a serenity about these images. It’s even as if regardless of the nature and perceived positive or negative qualities of their immediate environment, people transmit a harmony within the place that they have made their home. It is no coincidence that many of my subjects are immigrants to the local area and the country. Their resilience, and success in undertaking such a movement, despite the challenges this entails, perhaps is reflected in this harmony. I developed some of these themes, for example through the use of depth of field to focus on the main subject, yet represent the inter-connectivity of the two subjects of my imagery.
The individuality of the mother and daughter, the requirements and routine of the morning and the objectives, purposes and moments have all been captured in these images. Moments together, as individuals, personal, individual times and reflective time-filling spaces reflecting this established routine and symbiosis between mother and child.
The individuality of the mother and daughter, the requirements and routine of the morning and the objectives, purposes and moments have all been captured in these images. Moments together, as individuals, personal, individual times and reflective time-filling spaces reflecting this established routine and symbiosis between mother and child.
The Bathroom
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The Living Room
The Kitchen
The living room
The Hallway
Staircase
Passageway
The Entrance
Evaluation
The January morning was dark and cloudy. The natural, interior lighting was dim, the artificial lighting limiting, and in cases harsh. I wanted to avoid the use of flash, although in an external context this may have been used effectively as style of “fill-in” lighting. I “pushed” the exposure, selecting an ISO of 800. The limitations however resulted in low shutter speeds and a high aperture, hence the blurred imagery which captures the movements of the everyday morning routines. Furthermore, the limited depth of field, enabled me to capture the mother and daughter together, as well as apart and distant, where they undertook their own tasks focusing on themselves, whilst together as a family as one.
These studies represent a more intimate and focussed study of the life and routine and personal nature of people’s life, this time in their own home. I have developed the notion of the “fly on the wall”, ethnographic approach. The serenity is maintained. Despite knowing the family well, I have managed to maintain the photographer’s “distance” from her subjects. The way I interacted with the subjects, even Gia Han, enabled me to capture everyday life, culture and identity. Gia Han’s natural curiosity and interest, as a young child, in the act of portrait taking has been captured, where if she were an adult this would be considered contrived.
These studies represent a more intimate and focussed study of the life and routine and personal nature of people’s life, this time in their own home. I have developed the notion of the “fly on the wall”, ethnographic approach. The serenity is maintained. Despite knowing the family well, I have managed to maintain the photographer’s “distance” from her subjects. The way I interacted with the subjects, even Gia Han, enabled me to capture everyday life, culture and identity. Gia Han’s natural curiosity and interest, as a young child, in the act of portrait taking has been captured, where if she were an adult this would be considered contrived.
Eleventh Development
For my next development, I decided to return to the Andover Estate in Finsbury Park. I wanted to continue to study and represent a more intimate and focussed study of the life people had. I decided to then visit the Mason family. Faith Mason is a free lance food photographer. Her husband works in tech, helping photographers to get their images printed in newspapers. Faith, her husband and their 2 year old son, Ivo, live on the Andover and have lived there for seven years now.
My Response
For my shoot, I went to Faith's home early in the morning. The family had never met me before, so I made sure that I properly introduced myself as I came in so that they would subsequently feel more relaxed during the shoot. I told the family to ignore that I was there and to be as natural as possibly. However, I was looking for the best lighting and their house was quite dark so we stayed in the lightest room, the living room for the majority of the time.
We then continues the shoot outside, around the Andover to create a greater feel of the landscape and environment. I made sure that we went outdoors to bring together the residents and the Estate. When we went outdoors, that was when I began to direct the family on where to go. Faith was held up by another resident so outdoors was the place where I really got to photograph just the Father and son and their relationship, which was very similar to that of Faith and Ivo, very loving. When outdoors and around the Andover main square, I was looking for the best location for them to stand, whilst achieving an interesting background of the estate's famous large and unique triangular buildings.
We then continues the shoot outside, around the Andover to create a greater feel of the landscape and environment. I made sure that we went outdoors to bring together the residents and the Estate. When we went outdoors, that was when I began to direct the family on where to go. Faith was held up by another resident so outdoors was the place where I really got to photograph just the Father and son and their relationship, which was very similar to that of Faith and Ivo, very loving. When outdoors and around the Andover main square, I was looking for the best location for them to stand, whilst achieving an interesting background of the estate's famous large and unique triangular buildings.
Using Photoshop
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With the images that were shot indoors, it was difficult to achieve the correct exposure composition so that the indoors was well illuminated, but also that the outside was not too bright and over exposed. With the majority of these images taken indoors however, the lighting balance was not right, so I had to use photoshop to make these corrections. For those areas that were underexposed I used the quick selection tool. Once everything was selected, I went to image > adjustments > levels/brightness and contrast. There were some smaller area that the quick selection took refused to select. For these smaller places, I used the magnetic lasso tool as I had more control. |
For areas that were overexposed, like the outdoors, I used the burn tool. This tool is extremely effective and useful, as it increases the contrast and darkens any area selected. This, in turn, creates a fine balance between the inside and the outside.
Evaluation
I felt that the images I picked out from the shoot were highly impactful and well constructed. There are numerous different relationships which I explored within the family. First, the relationship between Faith and her son. The viewer can instantly see, when looking at the images of them together, that Faith is very gentle, loving and affectionate with her child. She holds on to her son tightly, yet freely to allow him to play and explore, whilst also staying safe and secure. Her gaze is kind, caring, compassionate and protective.
The next relationship I explored within the family dynamics is the father and son relationship. This relation was very similar to that with the mother and son, as they both love their child and are delighted to spend time with Ivo. The final relationship that I documented was the one between the parents. I took a picture of them both sitting down, on the sofa in their living room, projecting and revealing an intimate space in which they live. This particular relationship was different to any other, as it was of the young couple, who are both adults and the home makers. They were in their home and that I think that the picture display their pride in where they live. The flat is tidy, well decorated and nicely lit. The mixture of natural and artificial light meant that the whole space and all rooms were illuminated, and became intimate to the viewer. Furthermore, the framing was very effective as it showed them standing or sitting assertively in their space, especially the shoot of the mother on the bed. When outside, the father is set centrally in the landscaped garden, looking confidently at the camera. This is a further illustration of their pride and satisfaction with their living environment.
The next relationship I explored within the family dynamics is the father and son relationship. This relation was very similar to that with the mother and son, as they both love their child and are delighted to spend time with Ivo. The final relationship that I documented was the one between the parents. I took a picture of them both sitting down, on the sofa in their living room, projecting and revealing an intimate space in which they live. This particular relationship was different to any other, as it was of the young couple, who are both adults and the home makers. They were in their home and that I think that the picture display their pride in where they live. The flat is tidy, well decorated and nicely lit. The mixture of natural and artificial light meant that the whole space and all rooms were illuminated, and became intimate to the viewer. Furthermore, the framing was very effective as it showed them standing or sitting assertively in their space, especially the shoot of the mother on the bed. When outside, the father is set centrally in the landscaped garden, looking confidently at the camera. This is a further illustration of their pride and satisfaction with their living environment.
Final Piece
For my final piece, I decided to do a round up of all of my shoots with people on estates. In doing so, I decided to do another 'curatorship task' through a book, which has some information on every estate, followed by my images and a short description of every resident. These descriptions were conducted through my 'mini questionnaires' at the time of the original shoots.
Flow diagram of my developments