I'm reading Jesse Alexanders, Perspectives of Place, i'm reading it cover to cover and i'm finding it very useful. The book has useful exercises that i've yet to undertake but as i'm doing the degree i don't think i need extra work. I'm in the process of moving again, the job and where i live isn't working out for me, so i hand my notice in, pack my things and move on, I've got a job in the lake District, `Cumbria UK.
I've wanted to spend time in this area for a while now so i'm gonna go and see what happens. It's only till the end of the season. Where will this change in locations take my photography practice? It's a big change and risk i'm taking in doing this as i had my project set out, but then i'm not a person who sits still and has life run smoothly, where's the fun in that. She says having anxiety attacks. Yes, i have fears but i'd rather be facing fears and moving forward than sitting still. My health has been affected by this position and its one of the main reasons for my move. I can feel the difference within me and it's not good or right for me, so i must move on and seek pastures new that will help me gain my health and physical well being back.
For my photography practice my straggle will be to wonder out into the land and walk around my new environment and capture things that are drawn to me. The longer i'm in the environment the deeper i go into it and find the details within the land. This requires patience and a slowing down of mind and body to allow the eye to focus on the details. I'll have to take in to consideration moving adjusting time and new job expectations etc but the wonder with the camera will be a relief and meditation for the other stresses i've put upon myself.
I move around with my job in hospitality mainly within the tourist industry, this brings the question of travel and tourism images of the places i live in.
The tourist gaze is directed to features of landscape and townscape which separate them off from everyday experience, Urry, J (1990) when we go on our travels we want to experience a different way of life than we experience everyday. We choose our places to be gazed upon because there is an anticipation , especially through daydreaming and fantasy, of intense pleasures. Such anticipation is constructed and sustained through a variety of non-tourist practices, such as film, tv, literature, magazines, records and videos, which construct and reinforce that gaze. Urry,J. (1990) Living and working in tourist destination brings this notion to the forefront as i think about landscape images and the tourist gaze. The gaze is constructed through signs, and tourism involves the collection of signs. When tourists see two people kissing in Paris what they capture in the gaze is 'timeless romantic Paris'. When a small village in England is seen, what they gaze upon is the 'real olde England. This is the same for the Lake District. People aspire to the idea of outdoor adventure when they see image of rolling fells basked in golden light, or a misty waterfall or meandering bek. They gaze upon the image and imagine what they will do and how they will feel once seeing and experiencing this for themselves. People linger over such a gaze which is then normally visually objectified or captured through photographs, postcards, films, models and so on. These enable the gaze to be endlessly reproduced and recaptured. The Photography of tourism does much, though obviously not all, of the work of making tourist sites iconic, while tourist photography usually emulates and reinforces the photography of tourism (Faulkner 2010).
Looking at the traditional landscape/tourist image i don't want to copy this style, I want to explore the area and create images that question the notion of tourism images in an iconic landscape.
I want to create something different that creates a question and enquiry about the landscape not just a reaction of wanting to visit the place.
Copy of note book