Post Resolution Work

My large A0 print, I am saving for the Free Range exhibition. I have been working on some post resolution work.
As it is highly experimental I am not displaying it for the degree show. I stated earlier, my work is two different chapters of the same book. This work is the sequel to that work.

These are my original scans:

These colour papers are intense. They represent a dystopian nightmare alternative world. The reason for this is the first half of the series, the empty abandoned interiors that I have been stuck in, and the natural outside world that is a painful release from the first half of the series.

--------------------------------------------------------------------------------------------------------------------------

I inverted the scans, and experimented with the levels and colours, they are still very blue but the colours in some really are not far off. I learned the ISO of colour paper is tricky. The ISO of the magenta is somewhere around ISO 25, but the ISO of the blue is 100. I cut out the magenta,, with two magenta filters that cut 2 stops on the recommendation of one of my tutor's Peter Renn, I now feel I should have used blue filters to filter out the Blue and bring it down by several stops to bring it more in line with ISO 25.
The colours are still quite basic and would need more work to get them to somewhere I might want to display them. However I feel that when the colours are inverted the photographs lose their strange nightmare feel.

--------------------------------------------------------------------------------------------------------------------------

While experimenting with colours I adjusted the midtones in the colour balance adjustment in Photoshop. this was pretty much the first thing that happened, Richard Mosse eat your heart out.

--------------------------------------------------------------------------------------------------------------------------

I retouched these as negatives to retain their nightmare aesthetic. I altered the colours in them though, so each had a strong colour dominating its composition, I think some work really well and accurately display my intentions, but others just dont fit, I feel the some of the series works better in its original negative colours.

Peter Renn

Peter Renn

Hunting for Serendipity (working title) - Uninterpreted sites in the Thames Estuary

A long term book project, made in collaboration with the writer Catherine Roberts and with funding from the University of the Creative Arts:

A collaboration of photography and the written word, created from moments of informed evocative relationship with uninterpreted landscapes:

Sound Mirror, Warden Point.

Cliffe Lagoon, Kent

Gate to Shellness Beach, Isle of Sheppey

Southend Commercial Pier

Foreness Point, Kent

Anti-invasion defences, Isle of Grain

The Crow Stone, Southend

Radar Station Buildings, Warden Point

Naval Searchlight Emplacement, Shoeburyness

Garrison Point Workshop Buildings, Shoeburyness

I wonder why most pictures are in black and white, but only a few are in colour.

Some have a warmer tone than others. The most striking ones are in bold black and white. I think the reason for different types of photographs is (apart from Peter Renn being interested in alternative process) it is to make the viewer read the narrative differently and to make the viewer look at each picture differently.

My favourite is probably the first photograph Sound Mirror because I like the way the large stone interacts with the landscape surrounding it, I like the title as it does look like a sort of radar dish that would reflect sound.