I began by making a list of possible buildings that may be used. I then set about researching these buildings, using the internet and site visits to gather information and literature including images to give me some idea of what I was aiming to achieve. Finally from my list of a possible ten buildings I chose my six. A number of things determined the final choices I made, these included accessibility, convenience, personal interest and how well I thought I would be able to photographically achieve the goals of describing "effectively and attractively the way in which these spaces are used".
The Baltic Centre for Contemporary Art
Situated on the banks of the River Tyne this building was formerly a flour mill built by Rank Hovis and completed in the 1950's. This building is of particular interest to me as my Grandfather used to work as a delivery man for the bakery and every time I see it it takes me back to memories of the smell of fresh bread.
In 1998 the four year conversion to art centre began. The original north and south facades of the building were retained and a new inside of six floors and three mezzanines were built. 3000sqm of art space, a shop, a library and a restaurant were created. The service lift installed at the rear of the building is capable of accommodating a 6 ton truck to enable large art installations to be exhibited.
Photography in the Baltic is usually restricted so I consider myself very lucky that after a quick chat with the duty receptionist I was given one of these for the day...............
This car was part of an exhibition by Heather Phillipson. The collection was created as an audio-visual walking tour, designed to immerse the viewer in their encounter with the screens. This particular exhibit had the windscreen of the car as a video screen. I think the idea was for visitors to climb inside the car to watch the short film, blocking any distractions and so immersing themselves in the experience. However, as I stood observing the comings and goings of the visitors I noticed that most approached the car with caution, taking the usual 'look but don't touch' art gallery approach to the exhibit. This particular image shows two such visitors interacting with the exhibit in this, what they deemed acceptable, way.
I think this image describes quite effectively the way the space is used, it shows the long narrow room with the car placed at the far end and the bright colours of red and yellow were used to both attract and excite the viewers.
This building has been designed to have large spacious interior rooms in order to accommodate the large contemporary sculptures and art displays and also the large number of visitors. I think it is successful in providing its visitors with an environment in which they can interact with exhibits on a personal level. I would like to think that I have chosen images which effectively demonstrate and reflect this. My outdoor shot however could be improved.
Beamish Board School
I have taken the first image (F80A8180) from the viewpoint of a small child. This classroom is very like the one I remember attending as a child. I remember feeling very small and intimidated by the teacher who spent her time either sat at the high desk at the front of the classroom or paroling up and down the centre, cain in hand, watching the pupils every move. I have tried to convey these feelings through the photographs but I'm not quite sure if I've managed it. Maybe if I had included a school teacher in the shot it would have had more impact? I think it does quite well in demonstrating use of space though.
The second (F80A8184) shows a view from the schoolyard. It displays the many windows designed to let lots of natural light into the building. Again, I'm not too sure about this one. I don't know if it communicates use of space very well, maybe it's too much of an architectural shot. The inclusion of children playing in the yard may have demonstrated its purpose a little more successfully.
In the third (F80A8204) I have included people and I have to say, I like it much better. This view of the cloakroom takes in the doors of the school offices and the washbasins in the foreground. The hoops and sticks can be seen hanging on the coat pegs, these were the preferred toys of the day and they give the image a sense of place whilst fuelling the viewer's imagination. The thing I like most about this shot is the movement I have captured from the children running through the room, it brings in lots of energy and really makes the image come to life.
Newcastle Discovery Museum
The building in Blandford Square, was originally the headquarters of the Co-operative Wholesale Society and contained warehouse and offices.
I chose to visit the museum late afternoon on a weekday hoping it would be relatively quiet as it is quite popular for school trips etc. I thought most classes would have left by then and being very conscious of suspicious looks when using the camera around children I wanted to avoid causing offence if I could.
It shows the great use of space on the ground floor which is filled with the ship 'Turbinia' which was built to test the advantages of using the steam turbine to power ships. The other levels of the museum can also be seen and they all give great views of the ship which is the main exhibit.
A Summer House
Central Arcade
The second image is much more effective in demonstrating the use of the building, showing the shops, shoppers and a busker. It also includes two of the entrances to the arcade.
St. Nicholas' Cathedral
The building was originally the Parish Church of St. Nicholas but in 1882 it became the Cathedral Church for the new Diocese of Newcastle.
Whilst making the images for this assignment I have met many lovely and interesting people. I enjoyed researching my chosen buildings and learning about the history of them. I'm not sure whether I managed to capture images which describe the way in which the some of spaces are used and sometimes found it difficult to do this without including people in the frame. Sometimes, as in the case of the Cathedral, the architecture seems to overpower everything else. I did try not to let this influence my image making and as a result have not included some of my favourite photos from my trips there in my assignment submission. I do intend to include some in my Reading and Extra Learning Blog at some stage but here's a couple of the rejects to be going on with.
Assignment Three: Tutor Feedback
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Assignment Three: Post Feedback Reflection
It is said that my “IMG F80A8093 is an excellent stand alone image” which I am very pleased about. It does, as pointed out by my tutor, have a certain resemblance to the work of Duane Hanson and Little Whitehead’s ‘How Art Things?’ in that the viewer could question whether the people are part of the exhibit.
It is suggested that the children’s play area at Baltic would have made an excellent image too so here it is:
I agree that I need to push myself more to point the camera at strangers in order to show more people in the places I have chosen to photograph. I find this difficult as I am always aware of the possibility of confrontation which is something I am keen to avoid.
I have cropped IMG F80A8184 of the school yard at Beamish to show only the entrance and the open door as suggested by my tutor and it does make the place look a little formidable which conveys the fear felt by a lot of children back in those days when the building was a working school.
My Cathedral shots are also mostly unpopulated, there are usually quite a few people inside and maybe I could have included more but tried more to capture the atmosphere of the place. Maybe IMG F80A7986 could have demonstrated trace more efficiently if I had cropped it in and made the lit votive candles more prominent? I have included a cropped version here:
I do try to experiment with viewpoint, I admire the work of Martin Parr and attempt sometimes to give the viewer a sense of ‘being there’ and a feeling of inclusion in the scene.
I am still plodding through Liz Wells’ Photography: A Critical Introduction but still finding it hard going. I have also been looking at John Berger’s Ways of Seeing and the works of Annie Leibovitz, my all time favourite David Bailey and Richard Sawdon Smith who uses his tattooed body as a canvas for artwork and specializes in self portraiture, he is fascinating and seems to have lead a very eventful life which influences his photography.
Suggested reading is:
John Berger: Ways of Seeing
Graham Clarke: The Photograph
Ian Jeffrey: Photography: A Concise History
Susan Sontag: On Photography
Roland Barthes: Camera Lucida
Charlotte Cotton: The Photograph as Contemporary Art
Susan Bright: Art Photography Now
David Campany: Art and Photography
Ashley La Grange: Basic Critical Theory for Photographs
Gerry Badger: The Genius of Photography: How Photography Changed Our Lives (+DVD)
Steve Edwards: Photography: A Very Short Introduction
(No Author/Phaidon): The Photography Book
Martin Parr/Gerry Badger: The Photobook: A History
Geoff Dyer: The Ongoing Moment
Mary Warner Marien: 100 Ideas That Changed Photography
Anne Jaeger: Image Makers Image Takers