Week 7 Publication Guidance

The video lecture with Victoria Forrest was very interesting and informative. It gave me a lot of new things to think about in the design process of making a book. After learning more these past few weeks about exhibitions and book publishing it's moving me more towards a book than exhibiting. I think they both have a good purpose to reach audiences but for me currently i think a book is more of a challenge. Having exhibited before i know a little about it, i know theres always more to learn but i feel a book is a totally new area for me to look into, explore and develop. 

After the lecture it made me think about my work and how i like to produce image that are still worked on after the image has be taken and processed. I like the layers in the work that this produces, for me printing an image is never the end. It can be used for so much more. Like fabric printing which can then be made into endless things. I once did a body of work where the printed images where fixed onto a handmade personalised frame with resin, this process slightly discoloured and distorted them, you never knew how the images where going to react. After the resin had dried the whole piece was covered in spray varnish so the images become permanently fixed in the frame instead of using glass to protect them. You could polish the piece like a piece of furniture. I exhibited the piece during the Rhubarb Festive at the mailbox in Birmingham, I still have the 5 frames and one day i'll make them into a table top. 

I've been exploring the idea of embroidering or felting onto a finished image printed onto canvas, this idea straight away bring to mind a gallery setting as canvas being generally hung on the wall as a picture but how about making the images smaller and putting them in a  book. Like the old school wedding books where they are fixed inside two thin pieces of card one this will allow me to create the images and put them in a book myself, i would just have to order the books. How do incorporate the two ideas of a book and fabric images needs further investigation and experimenting.  Victoria allowed me to believe that its possible with creative thinking and design. I just need to explore and maybe get experimenting on pieces. In my current living situation i'm unable to do this but from September i'll be moving back home which will enable me to have access to my sewing machines, a mother who is an experienced seamstress for advice on sewing techniques and will free up funds due to living back home. The work i produce will be costly and require time to experiment, so i've had to think about living requirements, space and costs with work balance if this is what i want to explore.

Victoria showed me how to use key points in the body of work to gently unfold the narrative. I already have ideas coming to mind, like make only 3 books, each one designed around the 3 different location it will also make it very unique as i will only print 3 special additions. Each book can have different elements relating to that area, for example at Iford Manor, The Peto garden, the Italian pillars are very reminiscent and a icon of the place so i could draw a pillar and use a repeat pattern on the inside of the book as the backing of the front cover page so when you open the books every cover is different, each of the 3 books will have a different design from each area, but the main body of work will be the same as the project covers the whole of my journey from Wiltshire, Cumbria and back to the West Midlands. Every detail is though about and linked back in context to the body of work. This will be important in my final piece to allow the story to be told.

Back to my practice i've changed from telephoto lens to wide angle this week to get a contrast within the image the weather has also changed to cloudy with the odd drop of rain, dropey as the farmer calls it.  We've been going through a heat wave and the forecast for rain is very minimum, here in the lakes that's unusual. The bnb has it's own water supply from the mountains, it's collected in 3 big drums which are fitted in the mountain and fill with rain water and is filtered upon entrance to the building, the water supply is starting to run low due to no rain fall in nearly 6 weeks now and the little bit of rain we've had this week won't do much to top it up, the hotel and Inn down the road who have the same system has already run out abit, no car washing for us. 

The change in weather gave me a new inspiration for my images, the constant from sunny weather made me think about how i wanted different weather conditions to show through to contrast and compare what the landscape looks like. I want to show the land in all its weather fronts unlike the traditional tourist image which only shows sunshine and golden light. I've noticed that you really notice the clouds here as you're surrounding by hills in a valley, it's really noticeable in contrast to living back home in a suburban environment, the level of the cloud is easily marked on the hill sides. It creates a very moody atmosphere.   Looking at my previous images from previous modules i'm starting to see the seasons changing through in the images, just from different locations around the UK, this brings another theme into the photography work. Seasonal change through the landscape at different tourism and visitor attraction and locations around the UK. My next project will be covering autumn and winter back home in the West Midlands at Himley Hall and park a public park and stately home ran by Dudley Council, the park was once the stately home to the Earl of Dudley, once visited by Prince Edward who abdicated the Throne to be with Mrs Simpson. The home was in it's hayday in the 1920's where it housed an indoor pool with  a slide, now it's turned into a dinning room for weddings held at the house.


This park holds a lot pleasure and memories for me and it's the place for my renewed interest in photography in my late 20's. 


You can really see the difference in the weather change in these images and how the cloud hangs around the hills at different levels at different times. It gives another line to the landscape, one that is very fleeting giving an atmospheric feel to the location and a welcome contrast to the big blue sky and constant sunshine we've had of late.




I've included the building in the area as theres not that many being remote, they are a big part of this landscape and community so i feel they need to be included in the project. The Herdwick sheep are an integral part of this landscape and are your companions as you go about the land. You feel like your in there garden. The ridge on top of the hill creates a great line great layers when using multi layers. I look for this when taking images. The line of the land changes with the weather. My strategies for landscape photography is i don't use a tripod and i don't go for golden hour or misty water style. 



Multi exposure photography is nothing new. Examples can be traced back to the very beginnings of photography, where a light sensitive material has been exposed twice, overlaying one image on top of another. It seems likely that this ability to create layered exposures was discovered by chance, as a result of a mistake, forgetting a slide had already been exposed.

In recent years, the resurgent interest in 'Lomograhy', especially amongst young photographers drawn to the retro nature of shooting on film using low quality cameras, often from Eastern Europe and toy cameras, has seen multiple exposures images appearing again on photo sharing sites as they experiment with the effects that can be achieved.

For those who love just put, classic photography, you may be thinking multiple exposures are probably not for you, However, you may find some of the features, especially in the new top end canon which you were having to toil away in photoshop. The feature is not just for quirky or artistic and creative photography by any means (Chinnery 2013).

I'm not a purist photographer and use the medium as a creative outlet for me to experiment with and be creative. It's not just a tool for depicting the view as accurately as possible, for me it's a means for which to show myself through, as a brush, paint and canvas is the showcase to a painters mind, the cameras is to mine. 




How the journey came about

Having thought about my image making, i got thinking about the methodology of what i'm doing and why? This question came about due to my frustrations brought about by fatigue and working schedule. My initial plan was to go off and do walks in the land as this is a fell walking country, upon reflection it doesn't matter what the journey is. In my last project i strolled over to the Main garden from the Orchard, i've journeyed up from the South west and now my journey is through nessesity. The need to have internet takes me out of the valley and the image are from that journey our a period of 8 weeks.

This is the view from my car in the car park i drive out to to access the internet in a village called Gosforth.

Longs photograph shows a straight line of trampled grass receding towards tall bushes or trees at the far side of what appears to be a field. The work documents an action my Long - the creation of a transient line in nature made by repeatedly walking back and forth in a grass field. Similarly as in my work a line is created but my line, the road, has been created before hand but the invisible carbon emission line is being created during the process of back and forth, an invisible environmental scar upon the land. Long commented about his work

'Nature has always been recorded by artists, from prehistoric cave paintings to twentieth-century landscape photographers. I to wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking...My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going, 'nowhere'. In subsequent early map work, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art.' 


Similar to Long i was to make photographs about nature and the journeys i take within the landscape, were a Long makes a mark by walking and then photographs that mark which then disappears, i look for the marks made by others or naturally formed within the landscape. During the journey i look at the landscape admiring like a tourist might at its  magnificence and contemplate at its structure, the lines made by history and the changes that i see in the weather. As i become more familiar with the land i visualise images that i think might site together in the multi layered process. Creating another imaginary landscape that i see before me, creating a more artistic interpretation of the land.


Looking at other photographer Dan Mountford who use multi layered images, Unlike many artists who use double exposure photography in their work Mountford is an analogue guy. There is no digital manipulation going on here. Most of his images are created in the darkroom, in the old fashioned way, by placing one negative on top of another to develop a third image, where as i use a digital camera and do the work in camera with little manipulation in post production. 



His image evoke a sense of fairytale narrative with the architecture, nature and human presence and like Rolander he leaves a lot of blank space around the main body of work creating a frame.


I'm drawn to Rolanders work more than Muntons, the black and white creates a platform for the textures he used within the human form, the composition of the figures are enhanced with the use of the chosen foliage or brick work.  Caroline Frasers work uses the land and i find her work very emotive giving the sense of a minimal calm landscape, this style is contrast to my bold full images of the active landscape. I don't seem to be able to see the simple here i just see big and full vistas which is reflect in my images, but i like the idea of trying to simplify the images to become more abstract and minimal. I'll explore that more in the next project.

Caroline Fraser

A selection of my image to contrast with Carolines. As you can see her images are simpler in design elements with a slight abstract impressionist style as opposed to mine which are very factual, elements of the environment are still present so we can recognise the image as a landscape image but on closer inspection and exploration the images isn't what it first seems.

The double exposure blocks out parts of the one image, either allow or covering up the other image. A ghostly or shadow effect occurs which creates a type of effect as if the paper on one page has been ripped to show the layer underneath. My images are still reminiscent of a landscape that upon gazing we immediately recognise but something not right which draws you further in and around the image looking for signs of something to recognise. The narrative is questioned and then slowly answered or sometimes slowly lost in the fading nature of the layers. I'm manipulating the landscape and cross pollinating the environment to create my own world.

"A visual journey through our minds, in quiet, where the reality of the everyday life does not come"

Dan Muntford 

I've been told by the locals about the Abraham brothers who are wellknown climbing photographer of this area. 


The pub where i work have the wall displaying black and white images from the brothers. 

I sit under the watchful gaze of George Abraham the local famous pioneering mountaineering photographer of the area.



Copy of note book