People and Place On Assignment

There are no additional exercises or projects in this section. The assignment takes up the whole section.

The assignment seems to reinforce the advantage of having a fixed remit, as in the previous assignment. In planning the assignment, I’ll look again at my library and online, to learn from the work of others. I’m planning to use the Whitby Goth Weekend for this assignment, so I hope to get some pointers in this pre-study.

Starting with Caruana, Natashia and Fox, Anna ‘Behind the Image’ – This is an invaluable book which looks into research in photography. This includes: the planning of the project, including the ‘why’ and ‘what’ of the remit, timing, budget etc.; background research, including where to look for it and its value; Practice as research – how and when to shoot for the best results, post production techniques, editing etc.; Compiling the research – how to store the research (blog, sketchbook / workbook etc.); Research and Practice – testing the research (displaying the prints on pin boards etc. to consider the size, colour etc., considering the audience, modifying plans and then the final production. Many of these points will be used in the planning of the project.

Considering the work of other photographers I looked again at ‘Street Photography Now’ by Sophie Howarth and Stephen McLaren. Photographers that stood out for me in this book are:

In Maciej Dakowicz’s series on Cardiff, where he’s looking at the night life around the bars and clubs, he advocates getting involved with the activities and having a couple of drinks to get into the swing. I’m not too sure about that – how far do you go when there’s binge drinking going on? He’s definitely caught the feel of the place with what can only be grab shots using existing lighting, so maybe he’s right. Maybe I should become a Goth for my assignment!

Andrew Z. Glickman is another photographer who becomes one of the people he’s photographing. By becoming one of them he is able to mingle and capture intimate moments without being intrusive. His series ‘Among Strangers Underground’ is very unified, capturing commuters on the subway – he uses existing lighting and typically half-height portraits to produce this unity in his presentation.

Thierry Girard’s images of China are all considered, well composed photographs. He uses a tripod and carefully frames each image to show the message he wants to transmit. While the ‘grab shot’ style of Dakowicz captures the moment, Girard’s methodical approach produces images with more depth while capturing the reality of a place.

Gus Powell’s series ‘Lunch pictures’ captures intimate, sometimes humorous images. He doesn’t get close to the subjects, just observes and takes the opportunities as they arise. This used to be my way of photographing people, but I’ve learned that it’s better to engage and have some rapport with the subject if it’s a portrait or if the subject needs to be in context with the surroundings. Obviously there’s a place for the ‘voyeuristic’ approach, as is shown in Powell’s images, so maybe it’s a matter of finding a happy medium.

Looking online at the work of others who have been on assignments and on my tutor’s recommendation I looked at Magnum Photos ( http://www.magnumphotos.com/ ). Looking initially at the recent essays for an overview of the photographers and skipping through the political / disaster sets which are obviously news assignments, the following essays stand out for me:

The images taken by Steve McCurry in Ethiopia, where he documented the Kara and Surma tribes, show what can be achieved when photographing for a specific assignment. He successfully captured excellent portrait images while also placed tribesmen, women and children in context with their surroundings and ways of life. This photo essay shows real feeling for the people and their environment.

I particularly like the essay by Alex Majoli’s – ‘Postcards from Milan’ which use a distinct style with a restricted palette of monochrome with subjects taken at night using existing pools of light. Here’s a case where an assignment has resulted in a strong set of unified images, so maybe restricting the equipment / lighting etc. would be useful.

Abbas’s ‘Shadows set in stone’, taken in Jerusalem also uses a restricted palette on monochrome and use of harsh shadows to accentuate the images.

Martin Parr’s essay ‘Liberation Day in Guernsey’ is a well captured documentation of the day’s celebrations, which is a welcome light-hearted relief from some of the other more serious essays. I feel that he hasn’t had the depth of feeling shown by Steve McCurry, so his essay comes across as just a photographic record of the day, rather than a collection which gives a sense of ‘life’ and ‘meaning. Looking further at his work, his collection on ‘London Restaurants’ seems to be quite impersonal – he has a few posed images of the staff, while the rest of the images containing people don’t seem to have any interaction with the photographer. I think I’d prefer to have a more personal approach with my assignment.

His street photography in Barcelona and Thailand / Cambodia shows real life and humour in the images. He’s still distant from the people, but he’s caught the feel of the place and how the people interact with it.

The Netherlands. Helmond. Carnival. Collection is nearer what I’d like to produce, where there’s obviously some interaction between the photographer and the subjects, but generally I’d say that his assignments don’t have enough ‘people contact’ for me. I think that getting physically closer to the subjects gets a better image. There’s got to be some ‘getting to know you’ to get the feel of a person / place.

Looking at the portrait photography of Thomas Struth (http://thomasstruth25.com/) I find his style quite ‘bland’ with the subjects looking straight at the camera with predominantly blank expressions. This is not what I’d like to produce. I’d like to have some ‘life’ in my images.

Richard Avedon’s portraits (http://www.richardavedon.com) display a real artist at work. His subjects look alive and with good contact with the photographer. I’d like to be able to emulate his skills.

I accessed John Angerson’s site (http://www.johnangerson.com/) to see the Jesus Army series. This series shows that the photographer has been accepted by the group he’s working with, resulting in the freedom to catch many personal moments which have produced excellent images for his assignment. Using monochrome works well for this series.

Looking back at these studied photographers I’m still left in a quandary about which style to use, but I’ve decided on some general pointers:

· I don’t propose to use monochrome in my assignment – I’m planning to use the Whitby Goth Weekend. The Goths are so colourful and it would be a shame to lose that aspect of it.

· I also think that in general it’s best to engage with the subjects as much as possible – I think it results in more realistic portrayal of the person, even if the momentary, intimate moments may be lost.

· I’ll set myself a reasonably tight brief and be quite restrictive with my equipment, which seems to be an effective way of obtaining a good end result.

With these in mind I’ll start the planning.

Part 5 - People and place on assignment

Back Garden Blossfeldts

Sorry I couldn’t make the study day – just a too far for me I’m afraid. I have, however, had a look in the back garden and come up with a few possibilities for the challenge. They’ve all used a 150 mm / 2.8 Sigma macro lens:

Here’s a daisy treated with Nik Silver Efex Pro 2 with a red filter and simulating Kodak ISO 32 Panatomix X film. Have you spotted the red spider mite?

I used a 4 x close up filter on the front of the macro and used three frame bracketing for this close-up of a kalanchoe (in the conservatory which is nearly in the back garden). I used HDR to bring out the details.

And finally a close up of an astrantia which really is in the back garden – single frame with tone mapping and increased structure.
Don’t you just love macro?

Assignment 4 Revisited

Once again my tutorial showed that improvements could be made to this assignment. The selected photographs could be improved and a ‘unified’ style developed – as they stand, there are several different types of presentation which make the overall assignment disjointed. Also, some of the images could have been taken anywhere – they didn’t necessarily relate to the village. With these points in mind I undertook to start again. Firstly I’ll look at the village itself – this venue is all about the great outdoors, so this needs to be shown, apart from the people who live and work there, who will be shown in the second part.

Images which show the village and its peculiarities /individuality are not necessarily taken within the premises / businesses. People come to the village to enjoy the moorland walks, see the real life ‘Aidensfield’ and relive the days of steam travel at the station, so this is what I’ll try to portray here.

Entering the village from the West its position in the moorland can be appreciated:

West End

This end of the village is away from the ‘Heartbeat’ experience. Here the sheep wander around with little interruption from tourists. To the left we can travel to see the remains of the Roman Road which ran from Whitby to York. To the right the road heads towards RAF Fylingdales, Early Warning Station. The Mallyan Spout Hotel, where the cars are parked, is at the top of a path which leads to the foot of an impressive waterfall (The Mallyan Spout).

Across the road from the hotel is the church:

St Mary’s Church

This beautiful little 19^th century church is an important part of the village life which seems to be well respected by the villagers. There has been a place of worship on this site for over 800 years – predating this church which was built in 1896. As well as its religious uses it’s a place for quiet reflection – the doors are always open for visitors.

Here the sheep are prevalent and there’s a calmness and openness of the moors. It’s away from the tour buses and souvenir hunters. This is where to come to be at peace with the world. For me, this is what the area is all about – come here to enjoy the walks and beauty of the moors.

Walking almost half a mile to the other end of the village we come to the more commercial area:

The Green

The Green is the name of the high street. This is where the tourists come for their ‘Heartbeat’. There are also essentials like the Post Office, outdoor clothing supplies and an excellent tearoom. As can be seen here, it’s a place that motorcycle clubs use as a meeting place.

Moving further down the road we pass the reading room and on to the garage:

Aidensfield Garage

Changed from a working garage into a souvenir shop for ‘Heartbeat’ – There’s an Austin A30 on a lift and a couple of old motor cycles inside, but mainly it’s ‘Heartbeat memorabilia. This venue is a must for those looking for ‘Aidensfield’, but I’m afraid it doesn’t do it for me – I think it’s lost its soul. Still, they seem to be making a living from it.

After the garage and the ‘Aidensfield Arms’ on the other side of the road, we come back into the real Goathland. Here the hikers who come to appreciate the walks can be seen:

East End

Climbing down the moorland path from Beck Hole (another wonderful village – with the smallest inn in Yorkshire) we come upon Goathland station. It’s another of those prizes that keep springing up during the walks across the moors. Again it’s what I think the real village is about.

The Station

The steam trains always attract a crowd. It’s easy to get close to the trains, so visitors get the opportunity to appreciate the atmospherics and rawness of the engines with the quaintness and glory of the rolling stock. It was renamed ‘Hogsmeade’ for Harry Potter, but it’s not made a great thing of. With trains running almost every hour and using the station as a passing point on the otherwise single track railway, there’s plenty to see and the volunteers who operate it are always pleased to tell you about it and show you what they can. This is a ‘must see’ venue for the North Yorkshire Moors, never mind Goathland. With so much going on here, the station could become an assignment itself!

Next we look at six people who live and work in the village. Working through the village in the same sequence, we start at the Mallyan Spout Hotel:

The Public Bar

With pleasant, welcoming staff; warm comfortable lounges; excellent restaurant and real ale in the bars. What more could you ask for.

It’s away from the bustle of The Green, so it’s a place to go to relax. It’s a good base to explore many parts of the North Yorkshire Moors – as well as the scenery there are ancient crosses, standing stones and Roman relics to explore. For me, this is what the

village is all about and the owners and staff of the Mallyan Spout have got it just right.

Moving on to The Green, we first visit the Tearooms:

Tea Rooms

The cheerfulness and openness of the staff here is wonderful, particularly on a cold day. Good, simple food, served by cheerful people in comfortable surroundings is what this café is all about. In the winter there’s a fire burning and when it gets warmer there’s a garden area. All very pleasant and well recommended.

Still on ‘The Green’ we check out the Post Office:

The Post Office

This shop is so obviously much more than the post office. Like other businesses in the village it’s very much aimed at the tourist industry. Here there are souvenirs to be bought alongside the stamps, lottery tickets and cigarettes. I was pleasantly surprised at the reception of the postmaster and postmistress when they were happy to allow me to photograph here – I thought there would be some objection as it’s a post office, but they were as accommodating as everyone else in the village. It’s obvious that tourism is welcomed here with open arms.

Aidensfield Garage

Now a souvenir shop cum motoring memorabilia store. The owner has been there for 40 years and ran it as a working garage before the television series changed everything. He says he’s happy with his new business, but that wasn’t what came across to me. Together with the landlord of the Goathland Hotel (aka Aidensfield Arms) they are the only two of all the people I got to know during this village assignment that didn’t seem happy with their lot – they’re still here after all the years, so they must be happy with their businesses at one level.

Moving on to the station we again find cheerful, friendly faces:

The Signal Box

Operated by volunteers, the signal box controls train movement on the North Yorkshire Moors Railway. It’s an intriguing place with different sounding bells from different signal boxes to alert the signalman of a train passing in his direction, interlocks which will not allow signals to be changed if the points are in the wrong position and so many telephones. There’s nothing automated about this system but it works really well – the Victorians certainly knew about engineering. Every movement and communication must be logged – that’s what the signalman is doing here. Although this area is not generally open to the public, you only have to ask and the signalman is more than happy to give you a guided tour if he’s not busy with a switching operation. For photographers, this is also the place to obtain your trackside access permit and fluorescent jacket.

Engine Driver and Fireman

Following an emergency stop due to a visitor getting too close to the moving train, these two are awaiting the ‘all clear’ from the station master before setting off again. It’s good to know that we’re in safe hands!

Assessment of the project:

I believe I achieved what I set out to do regarding seeing how the locals have adapted to their change of lifestyles. Some have made the transition better than others. There are examples where the owners don’t seem happy with their lot, possibly due to the downturn in their trade as recession bites and the ‘Heartbeat’ series has finished. Similarly there are those who will survive because of their friendliness and openness – their service will keep customers coming back. I think it’s a bit worrisome that there’s so much emphasis on ‘Heartbeat’ – this interest must wane soon and the businesses that rely on this now could be left high and dry. The railway and the walking will always be there – neither of these activities mentions any of the ‘Harry Potter’ or ‘Heartbeat’ series, so they’ve still got sound bases to work from.

I was thwarted to some degree by the poor weather, which delayed the photography for almost a month and necessitated wearing heavy clothing while reducing the amount of photographic equipment. Also, one of the venues’ proprietors was a little reluctant to allow my access, but I feel I still managed to fulfill my remit.

I had a problem deciding which images to use. A great deal about the village is what can be seen outdoors, hence the views of the high street and the walkers, so I would have preferred a bigger allowance on the number of final photographs. I feel that what I’ve produced is just a snapshot of the village when there are places which I couldn’t consider including.

Following the initial tutorial, I’ve learned that I should have a more unified approach for the final presentation. It was also good to be given permission to present two differing types of photography – one which shows the ‘outdoors’ aspect of the village and one which shows the ‘people’ of the village, so in effect there are two presentations here, which allowed me to give a reasonable representation of what makes the place so attractive.

Having a defined end-result certainly concentrated the mind when taking the photographs, although I did deviate to capture images of the heather burning which I’ll keep as stock images for further investigation and images from the railway station will be similarly held. If I hadn’t had a defined remit I wouldn’t have concentrated so much on the job in hand, so the outcome could have been much more fragmented and not cohesive.

I’ve certainly learned a lot about the people of Goathland and made some new friends on the way. I’ve also found some excellent coffee and well-kept beer!

Assignment 4 – A sense of place

I decided to investigate the moorland village of Goathland for this assignment. Its history goes back to the Vikings, with later evidence of Roman activity. The tenants of the farms have ancient rights to allow their sheep to graze on the village green, so it’s quite normal to see flocks of black faced sheep running down the road.

The village was used in the television series ‘Heartbeat’ where it became ‘Aidensfield’. The railway station, which is run by the North Yorkshire Moors Railway, became ‘Hogsmeade’ station in the Harry Potter series. These recent uses have changed this village into a tourist attraction, with excursion coaches arriving regularly and the local shops becoming souvenir shops. I believe the village has now become focused on tourism as its source of income, with farming now a thing of the past. With this in mind I want to see how the village and the locals have adapted to the change.

The village boasts three hotels: The Goathland Hotel (The Aidensfield Arms in ‘Heartbeat’), The Inn on the Moor (a more modern addition), and the Mallyan Spout (The biggest in the village – named after the nearby waterfall). There are also numerous guest houses which cater for the many walkers in the area.

The Church: St. Mary’s is the modern church (built in 1896) but there has been a place of worship here for over 800 years.

There is a row of shops: post office, general store, sweet shop and garden / gift shop.

Three cafés: A coffee shop and a tea room in the village and a tea room at the station.

A garage (now a gift shop)

The railway station: on the Grosmont to Pickering railway line where steam trains run a regular service during the summer months. This is serviced entirely by volunteers.

In March, the tourist trade is restricted to Tuesdays for the coach excursions and weekends for the railway station. This increases as Easter approaches, with steam trains running daily through the summer months.

Having approached the owners of the local businesses and gaining their consent to take photographs in the majority of their properties, I started planning the project. It would obviously take several weeks to collect a reasonable amount of work to select a meaningful selection of images. As the activity in the hotels was very slow, I began by getting to know the locals, trusting that the tourist trade would pick up as Easter approached. Deterioration of the weather didn’t help to encourage tourists, so the attractions weren’t shown at their best – some attractions were on reduced opening times and the garage kept its doors closed. I decided to use one camera with two lenses and a flash gun with a diffusing globe if necessary. This would reduce the amount of kit which could be a problem in some of the smaller venues.

As the weather dictated, the majority of images were captured over the Easter weekend. With temperatures staying around freezing point for most of March and into April, tourists generally stayed away from the village.

Having taken in excess of 600 images for the project, I used the ranking system in Lightroom to determine which ones to keep for the assignment. Getting to the 12 best images was difficult, but to further reduce this to 6 was much worse. The first six images shown here are those that were rejected in favour of the final six.

The Green

As this is the main commerce area of the village I felt it was reasonable to show this image. Some of the shops have retained their television names, so the village store is ‘Aidensfield Stores’ after the ‘Heartbeat’ series. Similarly the garage still sports ‘Aidensfield Garage’ and ‘Scripp’s Funeral Services’. This image gives a feel of what to expect, with the 1960’s cars in permanent residence and souvenirs to be collected in every venue.

Aidensfield Garage

Now a souvenir shop cum motoring memorabilia store. The owner has been there for 40 years and ran it as a working garage before the television series changed everything. He says he’s happy with his new business, but that wasn’t what came across to me. This image was included in the initial 12, as the garage is a significant attraction in the village. It’s not a venue that the discerning traveller would be looking for, so it didn’t make the final 6.

Reading Room

This building is often closed, so it hasn’t been included in the final six. It’s now being used mainly as a practice room for the local sword dancing team – ‘The Plough Stots’. Memorabilia of this traditional dance team adorns the walls. If the hall is open, as it was for this fund raising event, it’s worth a visit.

The Goathland Hotel (aka Aidensfield Arms)

This is the hotel that everyone wants to visit when they go to Goathland, due to its association with Heartbeat. It’s also the closest inn to the railway station. The bars are very busy at weekends and throughout the summer. I’m afraid it didn’t give me that comfortable feeling that you’d associate with a country pub. I felt as though I was being tolerated, but really had to watch where I was positioning myself. Still, they allowed me to photograph, so I should be grateful. This didn’t make the final list because there were better hostelries in the village.

General Store

This image made the initial 12 because it showed the local people going about their business. Typical of all the businesses there are souvenirs to be collected. This business also has a café attached. They’re amiable types who welcome anyone into their premises. The lady customer was also chatty and welcoming. It seems to be a pleasant place to work.

The Post Office

This shop is so obviously much more than the post office. Like other businesses in the village it’s very much aimed at the tourist industry. Here there are souvenirs to be bought alongside the stamps, lottery tickets and cigarettes. I was pleasantly surprised at the reception of the postmaster and postmistress when they were happy to allow me to photograph here – I thought there would be some objection as it’s a post office, but they were as accommodating as everyone else in the village. I was sure the shop would be much busier in a few weeks, but it’s obvious that tourism is welcomed here with open arms.

The Final Six

These images have been chosen as I believe they portray the village in the way it could be seen by the discerning visitor – not looking for the souvenirs or to say they’ve been to ‘Aidensfield’, but enjoying this part of the moors and what it has to offer.

We start at the Railway Station:

Railway Station

It was difficult choosing an image to use from the station. There’s so much going on here and the images of people are many and varied. The village atmosphere makes this such a pleasant place to be and they’re very relaxed about access to the platforms / shop and tearoom – no tickets necessary. This image shows the train arriving from Whitby. The station is one of only two passing places between Whitby and Pickering, so there are often two trains in the station, travelling in opposite directions. People visiting the village really must see this place.

The steam experience is appreciated by so many and there are always photographers here. With a variety of steam / heritage diesel engines and rolling stock dating back to the 1930’s, there’s so much to enjoy. Roaming tickets can be obtained to give unlimited use of the trains for a full day and Goathland is good place to be based.

Also at the railway station is the signal box.

Signal Box

Operated by volunteers, the signal box controls train movement on the North Yorkshire Moors Railway. It’s an intriguing place with different sounding bells from different signal boxes to alert the signalman of a train passing in his direction, interlocks which will not allow signals to be changed if the points are in the wrong position and so many telephones. There’s nothing automated about this system but it works really well – the Victorians certainly knew about engineering. Every movement and communication must be logged – that’s what the signalman is doing here. Although this area is not generally open to the public, you only have to ask and the signalman is more than happy to give you a guided tour if he’s not busy with a switching operation. For photographers, this is also the place to obtain your trackside access permit and fluorescent jacket.

The next image shows a group of walkers taking one of the paths by the side of the river Murk Esk. This being one of the attractions for visitors, I thought it important to show this aspect of the use of the village.

Walkers by the Murk Esk

This was taken from the bridge by the railway station and still very much in the centre of the village. The anonymity of this group leaves the viewer to appreciate the beauty of this part of the moors.

The haze was caused by mist and in part by smoke from the annual heather burning. I like the smell of this burning and the smoke haze can produce some wonderful lighting effects as it colours the sunlight:

While this image shouldn’t be a part of the assignment I feel there should be some appreciations of what people (tourists and locals) come here for and with scenes like this it’s easy to understand.

Moving back towards the village green and ready for a cup of something hot, we look at the Tea Rooms

Tea Rooms

The cheerfulness and openness of the staff here is wonderful, particularly on a cold day. Good, simple food, served by cheerful people in comfortable surroundings is what this café is all about. In the winter there’s a fire burning and when it gets warmer there’s a garden area. All very pleasant and well recommended.

It’ll set you up for the ½ mile walk to the next venue.

The next place to visit is the church:

St Mary’s Church

With the church being lit solely by the low sunlight from the windows, naturally occurring light areas were formed. The couple was seated in one such area while the altar was similarly lit.

While the couple form an important part of the image, their functions here are to give the space some ‘life’, and to direct the eye towards altar.

This beautiful little church is an important part of the village life which seems to be well respected by the villagers. As well as its religious uses it’s a place for quiet reflection, which is what this couple came for. There’s a calmness and warmth here, which is a welcome aspect after experiencing the ‘Heartbeat’ sales pitch.

Across the road from the church is the Mallyan Spout Hotel.

The Public Bar

With pleasant, welcoming staff; warm comfortable lounges; excellent restaurant and real ale in the bars. What more could you ask for.

It’s away from the bustle of The Green, so it’s a place to go to relax. The hotel takes its name from the nearby 70 ft waterfall which can be accessed from the grounds. It’s a good base to explore many parts of the North Yorkshire Moors – as well as the scenery there are ancient crosses, standing stones and Roman relics to explore. This, for me, is what the village is all about and the owners and staff have got it just right.

Assessment of the project:

I believe I achieved what I set out to do regarding seeing how the locals have adapted to their change of lifestyles. Some have made the transition better than others. There are examples where the owners don’t seem happy with their lot, possibly due to the downturn in their trade as recession bites and the ‘Heartbeat’ series has finished. Similarly there are those who will survive because of their friendliness and openness – their service will keep customers coming back. I think it’s a bit worrisome that there’s so much emphasis on ‘Heartbeat’ – this interest must wane soon and the businesses that rely on this now could be left high and dry. The railway and the walking will always be there – neither of these activities mentions any of the ‘Harry Potter’ or ‘Heartbeat’ series, so they’ve still got sound bases to work from.

I was thwarted to some degree by the poor weather, which delayed the photography for almost a month and necessitated wearing heavy clothing while reducing the amount of equipment. Also, some of the venues’ proprietors were a little reluctant to allow my access, but I feel I still managed to fulfill my remit.

I had a problem deciding which images to use. A great deal about the village is what can be seen outdoors, hence the views of the high street and the walkers, so I would have preferred a bigger allowance on the number of final photographs. I feel that what I’ve produced is just a snapshot of the village when there are places which I couldn’t consider including.

Having a defined end-result certainly concentrated the mind when taking the photographs, although I did deviate to capture images of the heather burning which I’ll keep as stock images for further investigation. If I hadn’t had a defined remit I wouldn’t have concentrated so much on the job in hand, so the outcome could have been much more fragmented and not cohesive.

I’ve certainly learned a lot about the people of Goathland and made some new friends on the way. I’ve also found some well-kept beer!

Learning Evaluation

This has been a steep learning curve for me. I’d never realised the impact of including people in an architectural or landscape image. This has brought home to me how much an image is brought to life by the inclusion of people (or a person).

The way that people can be used – particularly unrecognisable people – has opened my eyes. I particularly like the silhouette, moving and many people applications. This aspect has changed the way I look at potential images of places.

It’s again reinforced the value of talking to people. During the exercises and the assignment I’ve been able to make people more relaxed and happy to have their photographs taken. When I was taking photographs for the assignment I managed to get people to really open up, which gave me an insight into what they thought about the place and where they’d come from. I took portrait images which I later gave them as thanks for their participation.

It’s been a difficult part to complete, mainly because of the weather which has not only restricted the availability of some places (driving there etc.) but has caused me more work outside the photography. I’ve met some challenges with this part of the course, but I think I’ve overcome them. Now I’m looking forward to meeting the challenge of the final assignment.

Books and websites referenced during this section:

Books:

Badger, Gerry. 2012 – ‘The Genius of Photography’ 3^rd edition (first published in 2007). UK, Quadrille publishing Ltd. ISBN 978-1-84400-609-0

Freeman, Michael. 2003 – ‘Landscape and nature’ from the ‘Digital Photography Expert’ series’. 1^st edition. UK, Ilex. ISBN 1-904705-26-X

Freeman, Michael. 2004 – ‘Photographing people’ from the ‘Digital Photography Expert’ series’. 1^st edition. UK, Ilex. ISBN 1-904705-20-0

Freeman, Michael. 2006 – ‘The Complete Guide to Light and Lighting in Digital Photography’ 1^st edition. UK, Ilex. ISBN 10: 1-904705-88-X

Freeman, Michael. 2007 – ‘The Photographer’s Eye’ 1^st edition. UK, Ilex.

ISBN 10: 1-905814-04-6

Hedgecoe, John. 2004 – ‘Complete Guide to Photography’. 3^rd edition (first published 1990). UK, Collins & Brown. ISBN 1-84340-119-3

Howarth, Sophie and McLaren, Stephen. 2010 – ‘Street Photography Now’ 1^st edition. UK, Thames & Hudson Ltd. ISBN 978-0-500-28907-5

McGrath, Norman. 1987 – ‘Photographing buildings inside and out’. First edition. UK, Focal Press. ISBN: 0-240-51357-6

Scott, Clive. 2007 – ‘Street Photography From Arget to Cartier-Bresson’ 1^st edition. UK, I.B.Tauris & Co. Ltd. ISBN 978-1-84511-223-3

Szarkowski, John. 2009 – ‘The Photographer’s Eye’. 4^th Edition (first published 1966). USA, The Museum of Modern Art, New York. ISBN 978-0-87070-527-4

Websites:

Kevin Steele

http://kevsteele.com

[Accessed 28^th January]

Manuel Cafini

http://whodesignedit.net/photography/people-motion-manuel-cafini

[Accessed 28^th January]

Aaron Storey

http://www.pimshots.com/

[Accessed 28^th January]

Adam Burton

http://www.adamburtonphotography.com/gallery

[Accessed 19th February]

Magnum Photos

http://www.magnumphotos.com/

[Accessed 20^th February]