amyenticknapp

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Major Project Proposal

The project title is a work in progress and will be something along the lines of ‘The Estate Voyeur’ or ‘A Voyeuristic Approach to Brutalism’, or even ‘The Relationship Between Concrete & Flora’. These titles accurately depict the different thought processes and theories that I have found myself to be photographically documenting, as well as what the aesthetic concerns. The lack of title is a result of prioritising my photographic practice and having uncertainty of what it really is that I want to create, meaning that I am still able to experiment with various content and different perspectives. I also haven’t been too interested in having a fixed title at the moment as I believe this may hinder my work from limiting myself to a singular concept or theme. I have a more free approach towards my subject matter than I once previously did, choosing to embrace the unknown of what I may discover when experimenting with both aesthetic and locations. This could also mean that I am yet to find a whole new project that is inspired by my future shoots, but that is obviously yet to be confirmed.

The subject matter I have chosen to photograph is architecture that belongs to the brutalist movement. I want to change peoples perspective of the structures that are often considered eye sores and referred to as concrete monstrosities. This will be intended to of be achieved through continuing the documentation this architecture through voyeuristic ways of seeing, celebrating not only their form, but their inhabitance and the life occupying the buildings. This will maintain an emphasis of how the buildings were decorated and accessorised, from washing lines, to open windows, drawn curtains to the satellites and surveillance cameras. This has triggered further ideas surrounding the intrusion of their privacy and to evaluate my own photographic behaviour, even though it is simply out of admiration for the features, especially those that are symbolic or evident of human activity and inhabitance. Another concept stemmed from the aesthetic of plants being used to decorate brutalist structures, which provides a rather attractive photographic outcome. This has inspired the continuation of looking at how flora is used to place life back into these concrete landscapes, whilst also exploring the relationship between both forms of subject matters aesthetic. I wish to find other Brutalist locations that have plants on the balconies or the front gardens, looking at how it transforms the harsh connotations that brutalism has.

I also wish to draw an irony at the fact that these brutalist structures aesthetic are a result of being produced by the ethic of accommodating to function over its appearance. I will proceed with highlighting and accentuating elements of new architectural structures and consider how I could compose them photographically in an innovative way. Continuing to edit the architecture and produce hyper saturated images with an intense contrast from the light and shadow. This will highlight the buildings dimensions and form, whilst providing an interesting aesthetic when placed against the neutral tones of the concrete. I feel this will be communicating the life within council estates and how they are customised and personalised by its residents, displaying the rather incredible scenes that has been inspired by abstract and minimalist photographs of architecture. I am also considering to shoot both midday and within sunset on a clear day, for the skies will be a bright blue with a lot of light and then various colours from the sun setting.

The aim of my work and final series will be to demonstrate an alternative take on brutalism and its aesthetic, appealing against the negative connotations it has for its purpose as housing for council estates. I wish to show these locations in an elegant, yet intense light, where the series is reflective of its attractiveness and beauty in design, especially when showing signs of inhabitance. I hope to find some more intriguing sights that will help produce visually alluring images and have a desire for there to be an emphasis on a particular aesthetic and lighting conditions to provide a coherency within my work.

My objective is to also share my perspective on this architecture and how I see it though my eyes as I feel it may shift others view also. I always look for these coincidental compositions or quirks of buildings and admire the form and structure of these buildings for their presence which I feel is a direction that I should continue with. Showing the architecture in a beautiful way is more inviting and encourages a more optimistic perspective on the brutalist movement and the components of its appearance. The audience will be members of the public, therefore opinions will vary, yet I feel I am confident that I can sway their interpretations of brutalism and how the buildings appear differently up, close and personal through my voyeuristic perspective. Brutalism is a love, hate movement which evokes different reactions from people, I intend for my work to show the artistic side of this architecture and celebrate its shape, form, use of material and all of the other components that make it so distinctive.

Within the major project I wish to achieve creating most probably 6 large prints and potentially even a book. The large prints will be a taster of what the books content would be, whilst also being a statement series on its own, conveying the themes in which I have explored throughout the project. The idea of a book is due to the amount of content I have gained and admire from my shoots within this project and feel that this form of presentation would be appropriate and with the photographs appearing to work well on a page. It would also be extremely hard in executing which photographs would make the series and be the best representation of my concepts, whilst also working coherently in its aesthetic’s tone, balance of compositions, colour, content etc. I should come to a conclusion when shooting this semester of what I want the series to have as an overall theme and what I want the photographs are communicating. Whilst also making the appropriate alterations to the photographs and their placement within the series and their organisation when presented on the wall.

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Research Report

The title for my major project is currently under construction. This is a result of prioritising the photographic practice and wanting to continue experimenting with what content I wish to produce. This would mean that my shoots will be without any limitations, or restrictions, especially as I was the title to be the most accurate reflection of the photographs as possible. Yet having some form of direction is ideal as there have been numerous themes that I have found aesthetically pleasing and have a decent amount of context behind the images. So producing a title is helpful to reign in my concentration and attention to specific elements of architecture on future shoots. I have considered a few titles that concern the alternative themes that are of interest and also what the shoots consisted of, varying from something short and sweet, like ‘The Estate Voyeur’ or ‘A Voyeuristic Approach to Brutalism’, to ‘The Relationship Between Concrete & Flora’. Yet my pilot series did include photographs that demonstrate both voyeurism and the use of plantation. These titles are suitable for their specificity of what the series will consist of and are descriptive of the content whilst communicating the concept of the shoot.

My methods of research have lacked in regards to taking inspiration from other photographers work. As it is my final year I decided to produce something that I want to be solely responsible for with my own ideas progressing and expanding, taking different routes and encountering different themes. This experimenting is what I consider myself to be successful of. However, I did find resemblance in other photographers work with mine and am yet to find more that can possibly influence, or evolve my photographic practice further. These resemblances consisted of both the conceptual side of the images and the aesthetic qualities, from light and shadow, to the colour palettes, angle etc. Yet I believe that my own work has helped to develop my practice and I can see a certain style arising in it. From the development of the voyeur concept from the evidence of human activity, to the invasion of privacy and then theres the aesthetic consisting of certain compositional components, identifiable as being my technique.

I feel as though looking closer at other photographers work would be useful and could inspire new ideas or chains of thought. From contemporary work to photography belonging to the previous past century, I could borrow slight aspects of the images that I appreciate. This would advance my own thoughts and creations which could also introduce my work to new aesthetics before from essentially educating my vision.

Throughout the pilot project I have encountered many themes that I find work not only aesthetically but are expressive of the brutalist movement and provide different perceptions on the architecture. The representation of brutalism has been achieved by accentuating particular architectural and compositional elements through qualities such as contrast, tone, temperature, perspective etc. This has adapted over the course of shooting, seeing what was successful and what caught my eye. Then there was a lot of of digital manipulating to the photographs, especially as the shoot where so large it meant that the editing process was tough. However, I did enjoy the editing process and bringing the photographs to life by heightening the saturation, contrast and providing an almost artificial feel with the bright blue skies and red flowers agains the neutral concrete, whilst showing off the dynamics that belong to the architectural structures.  

I prefer when my shoots are different in their appearance from one another, whilst sharing similar traits either literally or conceptually. This means that I get to explore a range of ideas and areas of interest that I have been wanting to attempt. Some shoots I feel encouraged by and others I can admire, but not to the extent of others, maybe due to preference of location and architecture, or the weather conditions, time of the day etc. I feel as though I have some knowledge of what I am intending to document within the following months before presenting my major project, yet I am still unsure of how I want the photographs to appear, communicate and be reflective of. Although I can imagine it will be something to do with voyeuristic ways of seeing and including brutalist, concrete structures and how they are decorated. Whilst also consisting of a similar colour theme to what I am currently applying. 

My understanding of brutalism is that it is either despised or adored by the public. This means that some of my audience may reject the aesthetic of my work, this may be from my admiration that I have for the architectural movement and the strong emphasis on its qualities. However, my photographs are not the stereotypical negative portrayal of council housing estates and tower blocks, but a celebration of their form and design. This has been achieved through the aesthetic, having an alternative take on its appearance to the prior associations that brutalism once had, filling it with life and showing it to be exotic and vibrant.

I have also incorporated the context of brutalism, being that the function is to provide housing, yet there is an irony as I deem the architecture to be works of art that should be respected more. From its grand, harsh construction to the subtle qualities, it is fascinating subject matter. I attempt to reflect on how these buildings are more than just concrete blocks and geometric monsters, but homes, inhabited by various residents that we will never quite catch a glimpse of, but are evidently in there. This is through either a drawn curtain, plants, open window, cctv, extended canopies etc.

My visual approach has been refined through the revisiting of brutalist locations and getting an understanding of what attributes I like the most and want to capture in the future. Especially Now that I have done further research on other locations that I wish to visit, being Thamesmead Estate, Trellick Tower, Southmere Park, Tavey Bridge, Hammett House, Balfron Tower, Dorset Estate, Finsbury Estate, Glenkerry House, Weston Rise Estate etc. I understand these are a lot of locations and probably will not get to all of them, but it means that I will have preconceived ideas of what I intend to document and appreciate the most visually.

This provides more of a focus of what to look for when on a shoot and gives a direction for what I want the composition to include. I also now have more of an idea of what the aesthetic should involve and what sort of subject matter I wish to present to the audience and visitors of the final year show. I must also choose what themes are moving and understandable when being presented to the audience. I want it to be interesting and provide a different way of seeing brutalist architecture, as well as having the audience reconsider their own privacy and local council estates aesthetic, finding the beauty in the banal.

The presentation of my photographs has chosen to present the two separate ideas from two different shoots. These shoots are from alternative locations and express different themes, however it works cohesively. The voyeur concept is demonstrated by the windows and the subtleties of the brutalist is shown through the light spills and its reflection off the buildings and olive curtains, appearing luminescent in the sunlight. Whilst also emphasising the concept of life through the relationship of plants and brutalism, not only for being organic decorations, but for the contrast with their texture in comparison to that of the raw, concrete blocks. The visual pairing of the duo in the centre was for their colour palettes and the balance the red brought to the neutrals, whilst the photographs at either end reinforced the splashes of green and saturated colour. This harmonised the colours involved and also the compositions as they are complimentary of each other.

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Photographers of Inspiration & Interest

Malte Brandenburg, Stacked, 2016.

Brandenburg’s interest in minimalism is reflected through the compositions, demonstrating a consistency in their framing and presentation, isolating the brutalist architectural structures. These buildings belong to the postwar housing crisis in Berlin are portrayed through an aesthetic different from how brutalism is typically photographically captured. The aesthetic lacks dimension, causing for the images to appear flat and rather surreal, like film sets cardboard cut outs of images used for backdrops. The buildings are painted appearing more attractive and pleasant to look at, providing the concrete with an inviting, lively appearance that isn’t usually associated with the movement, especially with its design. It has been noted that this has had implications on the surrounding area and social aspects of the building, with the colour creating a more positive environment.

Matthieu Venot, Who Want Sky, 2014, Urban Nautilus 2016, 2017. 

Venot demonstrates voyeuristic themes through the compositions cropped, tight frames of balconies and windows, drawing attention to these features of the architecture. Whereas other photographs of his have a minimalist approach to the buildings structure and form, either way there is a strong emphasis on the geometric components of the aesthetic. There are also similarities to my work regarding the angle and viewpoint, unconsciously documenting the buildings through a perspective that resembles Venot’s work. This is from how the architectural forms are accentuated through the use of a pale blue negative space, which isn’t too different from the skies I digitally manipulated from my first shoot. Although I have chosen vibrancy and saturation over the airy, pastel colour palette Venot uses, yet there is still a strong focus on line and shape, which continues to produce some rather abstract and graphic results.

James Stirling, Lost Utopia, 1977.

Stirling applies an aesthetic that could be considered more of a documentary approach towards the estates and concrete housing, particularly from including a human subject within the composition. This also could be from the photographs being produced within the 1970s and is due to the photographic documentation being on film, creating an aesthetic that is recognisably reflective of the brutalist era and its raw elements. This is especially being reinforced by the emphasis on neutral tones, which is providing more of a vintage colour scheme. There is a focus on the repetition of architectural components, in turn creating patterns out of the numerous windows and block concrete walls, as well as drawing attention to the contrast in shapes, from the circular to rectangular, similar to another shoot of mine. Stirling also implicitly shows evidence of life and human activity that is implied by the washing lines and opened windows, being communicative of the voyeur theme.

Lewis Baltz, Claremount, 1973, Tract House, 1971, Public Places, 1972.  

Baltz’s work is referenced for his photographic documentation of windows and properties, promoting the voyeuristic themes that I am exploring, yet through a black and white aesthetic. The new topographic movement emphasised the shape, line, tone and geometry found within suburbia and man made subject matter, similar to my own work. Celebrating commonly found objects and features of architecture, portraying the banal through an aesthetic consisting of minimal compositions and a hight contrast. This contrast maintains a decent tonal range and isn’t bleached out, showing the textures from the  materials were used to construct the walls and the formwork.

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Context on Brutalism

Brutalism is a popular style of architecture which flourished predominantly within the time period between the 1950s and 1975. The term brutalism was coined originally by Hans Asplund, a Swedish architect and is associated with French architect Le Corbusier’s term ‘béton brut’, referring to the architectural style, translating in English as ‘raw concrete’. Béton brut is essentially referring to the raw concrete as a form of expression and emphasising its aesthetic qualities, the definition does not concern the literal material of concrete itself. Brutalist architecture was inspired by the modernist movement which was active within the 1930s-60s and branched off of modernisms’ concepts and aesthetic, promoting truth to the materials used. This means that the architecture is not being decorative or deceptive of purpose, but is brutal in its honesty, demonstrated by the exposed formwork and structure within the materials texture.  

With modernism striving for alternative ways of construction and having innovative uses of materials, brutalism is reflective of the ethic purpose over design. These concrete structures should be accommodating to its function and not for the overall aesthetic, yet brutalism’s appearance is most definitely reflective of prioritising fast housing for the residents from its architectural elements. Brutalist buildings are often referred to as monstrosities in regards to its appearance, whereas others, like myself, adore the brutalist form. The denial of the ornament and the emphasis on less is more causes for the buildings to create a distinctive aesthetic.

Politics have also had an influence on architecture, especially in concern to the housing issues within postwar Britain, particularly after the second world war.

The practicality and efficiency of the design and materials used caused for its popularity and was partially responsible for the production of the brutalist aesthetic. Brutalist architecture still remains in estates and has the purpose to house. This was intended for and expressed by its utilitarian design, prioritising the function and use over the external appearance. However, I find this Ironic as I am appreciative of the brutalist design and its aesthetic qualities, choosing to shoot these architectural structures for how attractive I perceive them to be.

These sites are now protected for recognising these aspects of brutalism, valuing it socially and culturally for what it has contributed to Britains heritage, from making appearances in various films, media, music videos and some are considered famous landmarks. This protection is sought out by the National Heritage List for English and preserves historic buildings and sites that have a significance from demolition and other forms of damage. The grading system ranks from the highest to lowest in social, political or historical importance, from Grade I, II*, II.

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Presentation

For presenting my pilot series, I have simply printed out four A4 photographs. These photos are representative of some of the various ideas and themes that I have been exploring through my photographic practice, whilst being chosen also for the aesthetic as a series. I feel it appears coherent and reflects my main concepts of voyeurism and the plants visual relationship with the concrete. The series is technically formed from two separate shoots, however it has fluidity and distinguishes a theme through the compositional elements. The photographs from either shoot have also been visually paired, this is for their complimentary colour palettes, use of geometry, line, light and shadow. I had initially experimented with alternative combinations of series which I shall include below, the different series individually are aesthetically accentuating each others compositional assets. The series were visually understandable, the photographs were relatable in regards to one another, with each series visually communicating different themes I have been considered within shoots.

For the presentation of the images I decided to try and think outside of the box and play around with different ways to arranging the photos. For one series I placed the photos on top of each other and made it appear as though the images were a continuation of one another. I did enjoy this aesthetic, yet wanted to explore my options. Another series was made especially for the photos resemblance to each other in colour, plants and also for being compositions of various ranges of distance. One of my last series before the final one that I created was made purely for its aesthetic and pink, warm hue that the sunset had tinted it. With bright red flowers central to the two images showing different perspectives of the geometrical concrete structures, it worked as a series piece and had a balance. I then decided to experiment and make an architectural form out of collaging the images and by aligning their edges, connecting the images in a creative way. It could be interpreted as an architectural Frankenstein, metaphoric of the perspective that brutalism produces these concrete monsters deemed by some members of the public.

I came to the conclusion of using the series where it worked the best aesthetically and I felt best represented what I was exploring photographically over the past months and how my ideas are developing. I definitely consider the overall series appearance needs to be visually pleasing and work cohesively. I feel these photographs colour palette are individually aesthetically alluring and are attractive, whilst being harmonious and complimentary as a series. I want my major project work’s presentation to be colourful and dramatic, drawing attention to the brutalist architectures geometry, light and shadow.

I am still in the decision making process of what I want to produce for my major final piece, especially as I want to utilise space, not only as am I paying for it, but to use up my wall space in such a respected location. Although, I have also considered making a book, yet I wouldn’t want to produce just a book to present in the exhibition. I feel as though I would want large A2 prints of my work and probably create 6 in total. The amount would be enough to stand as its own and be seen and appreciated as it is, whilst the book provides another source to refer to containing more work. This is due to only using 6 photographs would be only a glimpse of what I have captured over the course of these modules. I could decide not to do a book, but I have so much content that I want to share, or at least to have a physical document of my work as a production that is containing my final years photography.

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Shoot 5- Abbey Road Housing

Factors such as perspective and angle are important in regards to the aesthetic and the composition, with the slightest of adjustments to the cameras viewpoint having the potential to reveal more features that belong to the architecture. For compositional purposes this may be achieved through the themes that I have previously established, such as cropping, zooming in and only capturing fragments of the building. This was effective in prior shoots, therefore I continued to take this approach towards the shoot. By manoeuvring around the properties it provides the lens with alternative sights that draw emphasis on certain features and elements of the aesthetic.  

In this case, the features being referred to in particular are satellites and how these can provide a balance or a change in the composition. There are an excessive amount of satellite dishes covering the faces of the buildings and I am interesting in how their circular shape contrasts with the buildings rectangular, oblong form and its cuboid balconies, for it creates a visually interesting result and works well compositionally. I have also tried to emphasise the buildings textural qualities by sharpening the detail of the image to accentuate the materials involved. The materials involved differ to my previous shoots focus on concrete and its aesthetic, with the building being covered in small stones. I appreciated how it photographed, however I will most probably try to remain documenting just concrete material, especially for its raw, unpolished feel. Yet I did enjoy how rugged this material appeared, especially in comparison with the softness of the safety glass.

This shoot also involved a strong focus on light and shadow, which resulted in capturing silhouettes of gridded, metal fencing, to documenting the light spills that have leaked through the surrounding gaps of architecture. This reinforces finding beauty in banality by appreciating the more discrete aspects and qualities of architecture even if its not a direct result of its own structure. The light and shadow also enhances the shapes and geometry, by creating depth and dimension through the contrast of shadows and the areas that are brighter.

The voyeur concept continues, with there being a slight invasion of privacy from the photographing of clothes washing lines even though they are draped across balconies, openly exposing possible intimate items of clothing. The washing lines act as evidence of human activity and with the washing being left to air out often signals a residents presence. The colours involved within the shoot are implicitly complimentary of each other. The palette is mainly consisting of the primary colours, being predominantly blue whilst including splashes of yellow and red besides the neutral tones. The saturation of the buildings colour and the contrast isn’t as intense within the final few photographs of the shoot, as these photographs have a more pastel, muted approach. The design is also more minimal and simple, with the focus being directed more towards the windows and how they are decorated.

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Shoot 4- Alexandra Road Estate

When concerning brutalism, its design and the purpose are the main routes of reflecting upon this form of architecture, often with its purpose and function being prioritised over its design. I have reviewed this shoot by discussing the themes of design and purpose which can be either interpreted, or are being physically demonstrated by the features belonging to the architecture, reviewing these attributes for their function and its aesthetic. In regards to the aesthetic, the architecture is important not only for its use of geometry, symmetry and the complexity in design, but its purpose, to block noise from the neighbouring railway and deflect the sound by echoing it out through its angular indentations, preventing the building from absorbing the majority of the noise.

The themes of shoot 4 are very similar to shoot 3, however, there has been a slight shift in interest. Still surrounding the theme of being a voyeur, the subject matter has changed from windows and their curtains to the front gardens of the properties belonging to the estate. This is enhancing other themes I wish to portray such as the aesthetic relationship between plants and concrete. This reinforces the concept of customising personal spaces and reflecting the life that inhabits these locations through the life of plantation, as opposed to just documenting lifeless, dull concrete. The decoration of gardens and balconies relates to how to how people perceive brutalism and its appearance, making it look like less of an eye sore and creating a balance between nature and the man made. The plants purpose is to probably reduce the harsh and cold appearance of these buildings, softening these scenes with flora and plantation for how visually overwhelmed some people may feel when witnessing these sharp, geometric blocks. The mixture of materials and textures provides more of a harmony between the aesthetic and compositional qualities.

Differing from the decorative elements of the architecture, the other forms of accessories such as the various sunscreens and canopies patterns and fabrics that are found to be alongside satellites, surveillance and cctv cameras. These features however are not simply just for the aesthetic, but share in common the function to provide privacy and protection. The concept of privacy is related to the theme of voyeurism, using these objects to maintain and protect their privacy, whether acting as coverage against weather conditions, secluding their space within shadows and to prevent inhabitants from feeling over exposed. Whilst the accessories of surveillance are used as a defence against criminals, especially as the crime rate in council estates and urban environments are generally higher. I am essentially infiltrating this privacy by photographically documenting the scenes, yet am not committing any offences by doing so.

I tried to maintain a consistent exposure that has a decent tonal range, whilst also providing a contrast by exaggerating the light and shadow. The colours of the photographs are exotic and lively, consisting of highly saturated colours as well as including various pale, pastel tones. The photographs demonstrate a variety of intense colours and contrasts this against beiges and other neutral tones that are all on the warmer side of the temperature spectrum. This shoot has also inspired revisiting locations at different times of the day to see the change in lighting and skies and document its implications that this has on creating alternative coloured hues; such as the dreamy, pink haze that some of the photographs taken nearer the latter end of the shoot have. And has inspired me to also consider the more minor details of the locations that I shoot within, this is from noticing the beauty in the banal. An example of this would be plants that push and grow through cracked concrete, or in-between the balconies glass paneling.

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Shoot 3

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Shoot 3- The Brunswick Centre

I visited the Brunswick centre to photograph the exterior of the building in a similar style my previous shoots and I have found that there are a few main themes in regards to both the concept behind the shoot and the aesthetic of my work. One of the main topics that the photographs tend to explore is the voyeuristic perspective that is gained from the use of close up view points and the short distance in-between people’s homes and my camera lens. This produced the feeling as though I am not giving the amount of respect for others privacy as much as I usually would when passing buildings, especially as I would often divert my camera and practice from being invasive. I decided to dedicate some of this shoot to just photographing windows, intentionally prying and capturing human settings that may reveal more intimate qualities, such as being a window to a bedroom or living space. This meant I was also photographing the various styles and designs of netting, drapes and curtains that will be covering these interior spaces. This provided me with different aesthetics that are unique  to individuals and their taste, which contrasts with buildings structure appearing as minimal and following a uniform structure.

Windows are also a perfect way of signifying human activity, leaving evidence of their presence behind, whether they are opened or shut, or if the curtains drawn or open etc. This emphasises the life within the concrete and is suggestive of its active inhabitance, even if the resident isn’t seen within the shot, providing a sense of mystery and curiosity of what and who lies within. Taking these photographs initially felt intrusive, however it is all out of my admiration for the external appearance and drawing attention to the qualities that go unnoticed. I also find it rather ironic to be photographing windows for how they physically appear or are viewed from the outside, instead of photographing the view of the landscape from looking out of a window.

Another theme developed from photographing windows, balconies and entrances of the buildings is the amount of plants that are used to decorate the concrete. This makes the architecture appear more vibrant and organic, as opposed to the dull, lifeless connotations brutalism and concrete materials usually has. The relationship between plant and concrete has provided me with an aesthetic that I enjoyed and intend to explore in future shoots, especially for the contrast in the various colour and tones of the buildings and greenery.

The weather conditions for this shoot were ideal, there was a strong light source which produced an intense contrast from the shadows and the sky was a vivid, saturated blue which complimented the neutral and pastel tones of the building. This highlighted the dimensions of the architectural structure and emphasised the patterns and use of line made apparent from the buildings angles and geometry. The sunlight accentuated these compositional qualities and are a result of the buildings sharp, brutalist design. How the light falls isn’t the only element that I appreciated photographically, but also the repetition and shape of the windows, ground ventilation/engravings and the green house-esque glass walls, which also focuses on characteristics that are unique to the Brunswick Centre.

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Shoot 2- Warwick Mount & St.James’s House

Exploring the same flats from my previous shoot, I decided to revisit when the weather conditions were different and conducted a shoot in the last hour of light before the sun was about to set. This made me want to revisit the location also at sunset when the sky is more of a pink and purple colour to give a surreal feel to the landscape, yet this would all be for a future shoot. The time of day and natural lighting was an important factor as it had softened the images and made the photographs look more realistic. This opposes to the previous shoots digitally manipulated images, attempting to make the architecture appear not so alienated or abstract within the environment, especially when the skies were just white pieces of negative space before editing.

These photographs consist of more of a pastel colour palette and have a better range of tone which creates form and dimension naturally, without needing a large amount of contrast In terms of light and shadow. Contrasting and complimentary colour schemes are also an important element of the aesthetic that attracts my eye and is visible within my work, yet I keep this subtle. From the pale pink and peach undertones of the sunset reflecting off the windows that cover the face of dark grey buildings, to the pastel blue sky in comparison to the sandy, beige colour of the buildings, or even from the orange rust being near the silver skies. This impacts the temperature of the images, making them feel cold and warm simultaneously, similar to the balance of the harsh, geometric design elements of the architecture through a dreamy colour scheme.

The voyeur theme also continued within this shoot, being emphasised through the cropping of frames and zooming into details that wouldn’t usually be noticed. This voyeuristic feeling towards the production of images is due to the intimate proximity gained from the cameras ability to reduce the distance of subjects to the camera, providing me with views and compositions that I wouldn’t normally capture. For instance this is from being able to get a glimpse of how people accessorise their home, documenting alternative designs and patterns of curtains and types of netting, to the plants and items that decorate window sills or balconies. This also emphasises the different textures and materials that people use to personalise these spaces.

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Shoot 1- Warwick Mount

The first shoot was mainly an exploration of locations near my where I am from in Brighton. This shoot was technically a preliminary test to see what caught my eye and what photographed well, as well as seeing what aesthetic qualities I was drawn too. This endeavour for material considered my previous concept of fashion within urban locations in mind, trying to get a feel for the environment and how I would position my models. I had initially envisioned taking more of a documentary, photographic approach to these concrete locations, trying to make the scenery look more the architecture is a set or from a film still. However, due to the lack of models on set to shoot, it caused for my attention to shift quite rapidly from photographing scenes that I am imagining a subject to be posing within, to then focusing on the major details of the architecture’s design, such as the repetition of shape, geometry and line.

This had provided me with some aesthetically powerful images, especially in regards to how the compositional elements were applied and considered in the frame. The images from this shoot produced a rather graphic, futuristic reflection of the banal buildings, which is a peculiar way to perceive brutalist architecture and the materials being used. I will continue producing work that emphasises the dynamic architectural qualities of brutalism and show consideration for its distinctive components by amplifying the detailing that forms the style, particularly by heightening the contrast, adding dimension to the images.

Yet, despite all of this I ended up being fixated with the minor details and features that formed the structures. I started capturing the patterns of balconies, windows and satellites that scale up the buildings. This provoked a curiosity of the who the building’s apartments are inhabited by and how they are accessorised these attributes to show personal taste and more importantly showing evidence of life. This shoot was responsible for triggering voyeuristic themes, from the intrigue surrounding the residents identity and the proximity I had gained caused for an invasive feeling, as though I was too close or that I was able to see too much through a zoomed in lens.

This is from not normally experiencing such visions and not usually caring to look deeper into the tower blocks. This shoot revealed things I usually wouldn’t of recognised, or thought to of acknowledged, from the symmetry to the use of line, to the little quirks of the architecture that showed for there to be human life occupying the residence. This voyeuristic approach made me feel as though I was a stranger that was wandering too close the homes on the estate and was neglectful of home owners privacy; instead of simply being a photographer documenting the compositional elements of the buildings like I usually do. This then encouraged further intrusion by experimenting with cropping and zooming in within the frame, playing with compositions and enhancing the textural qualities of rust, chipping paint and leaky pipes.

In concern to editing the images it was a cloudy, overcast day, so this meant I needed to create the skies myself to go in my image, otherwise it appeared as white negative space. This wasn’t providing the vibrancy or life that I was intending to show, so I decided to manipulate the images within photoshop. By using the selection tool to highlight the area I wished to edit, I then inked in a pale blue colour which I adjusted with the sponge and burn tools. This helped with brightening and darkening areas of the colour to appear as natural as possible, otherwise it would look artificial and too graphic from not blending or having any variation in tone. The sky replacement seemed to work without appearing so obviously edited, however I do prefer the dimension and contrast that the light and shadow provides when occurring naturally, yet this is only really obtainable on a sunny day. From the sky not being blue and there being a lack of light and shadow, it caused for a focus on different elements of the architecture that I don’t usually tend to focus on. This included attention to the angle and viewpoint, exploring perspective and composition when locating myself around the structures, finding different ways to see the buildings. This approach will be continued on further shoots as I feel I already have various ideas for capturing more images and for their presentation.

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Continuation of Ideas/Concepts

After reviewing the amount of content and material that I was producing from these shoots alone and the quality of ideas that were being stimulated had made me come to the conclusion that I wished to solely document architecture, especially as models were still awkward to arrange and proving to be more hassle than worth. This caused for me to dismiss the need for models entirely, deciding that I was going to continue shooting architecture instead of branching off into fashion. Also, due to the fact I’d not have long to learn how to shoot in style of the fashion genre as I��m not particularly comfortable or knowledgable in that area and won’t be able to give the practice of fashion photography the attention it needs to do it justice. I decided that I should just photograph the environments and backdrops that appear in the fashion and footwear campaigns that I am interested in and document the sites I was going to take models to. This therefore meant that I could continue to document estates, tower blocks, council flats and other urban environments that I am stronger at photographing. Meaning that the ideas for this project have changed, deterring from photographing people modelling fabrics and garments in such locations, to now focusing on what these locations share in common, which is the inhabitance of human beings.

Another reason for the decision to disregard the fashion element was from the realisation that time is of the essence and I have many more locations in mind that I intend to visit, such as: Thamesmead Estate, Trellick Tower, Southmere Park, Tavey Bridge, Hammett House, Balfron Tower, Dorset Estate, Finsbury Estate, Glenkerry House, Weston Rise Estate etc… There is still a lot I wish to explore in terms of architectural structures and photographing their different components that contribute to their distinctive form and the types of buildings that belong to the Brutalist movement which I am fascinated with.

Besides capturing the compositional elements, a theme that had began to arise within the images was voyeurism. This concept emerged from the feeling I get as a photographer capturing these locations as a fleeting visitor. I wanted to utilise this lack of presence of myself as a photographer and prey upon these urban environments, whilst also emphasising the lack of presence of the residents, from not physically being visible in the photographs. This will attempt to draw attention to the feeling of detachment that is produced both sides behalf, whether its from my photographic approach towards the architecture, or from the lack of interaction with residents. The fact that the exterior of the buildings appear so desolate and bleak, yet contains life both youthful and elderly internally, almost creates an irony that something as beautiful as life exists and flourishes within such harsh geometrical structures and bold forms. The concept of life occupying these locations had inspired for there to be a focus on showing evidence of implicit activity, expressing this without directly involving any human subjects.  

By photographing tower blocks and estates that are influenced by and belonging to the brutalist movement, my work intends to be communicative of the buildings functions, use and purpose. With the architecture initially being constructed for housing and to be practical in design, I wish to highlight the distinctive elements of design and the life inside making occasional appearances externally, such as an open window. To celebrate the variety of life located and found within these concrete vessels, the aesthetic will attempt to emphasise and mimic this energy through increasing the saturation and enhancing colour palette so that it is appropriately reflecting the vibrancy of the estate and the life within. This differs drastically to the predominantly cold approach that I would apply when photographing brutalist structures, or used to express the stereotypical, dull atmosphere attached to the architecture and images that I’m usually finding myself guilty of.

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Initial Ideas

My usual subject matter of choice has predominantly been architecture, particularly choosing to focus on Brutalism and document other concrete forms within urban environments. This has definitely been my preference of subject matter and favourite genre of photography, so I feel as though my work can only develop contextually and get stronger in aesthetic. I thought by combining my architectural style of photography with aspects of fashion that it would be more of a challenge and have an interesting outcome. From recently feeling inspired by fashion I thought I would attempt to fuse both genres by combining fashions aesthetics with architecture and produce on site editorial images, or finding alternative ways to merge both subjects into a photograph. The balance of architecture and fashion had the potential to form a new creative approach to my photographic practice, being achieved by combining compositional elements from both the genres, such as structure, texture, colour and composition appearing complimentary of one another and work cohesively. The presentation may not specifically be a photograph of both subjects in a singular image, but a collage of photographs, visual pairing or co-ordinating imagery, this was yet to be experimented with and were my initial ideas.

I had began looking at different photographers work for inspiration and found a few photographers that are producing work similar to what I had in mind and intended to create. The streetwear fashion and footwear campaigns that originally caught my eye were photographs belonging to brands like Nike, Adidas, Footlocker, Puma etc. These brands are now incorporating an urban lifestyle and landscape in their campaigns to assist with the products marketability, with the audience and consumers being able to relate to this experience and environment. Dean Martindale, Matteo Montanari, John Pangilinan and Jerry Buttles are particularly my favourite photographers and accurately demonstrate my ideas and what I wanted to create. Ideas such as visually pairing architectural and fashion photographs, coordinating and contrasting tones of the clothing with the landscape/background, following a documentary approach towards the images and providing a raw feel to the photographs, appearing un-staged or not professionally taken and as though the subjects are relaxed within their natural habitat.

The collection of content first is the most important part of the process in order to generate ideas from playing around with imagery. However my issue on behalf of the fashion shoots was trying to arrange models to shoot with, it became difficult with clashing schedules and limiting weather. I decided it would be easier for myself to shoot at a range of locations independently and seeing what sort of aesthetic to produce when shooting architecture, this meant I was reliant on just myself to take these photographs. I had then thought that I should just photograph each subject in separate shoots. So I set out and thought to utilise the time I had it would be beneficial to visit locations that I wished to shoot just to gain some form of content to work, whilst meanwhile trying to arrange models to revisit locations with. This technically gave myself an advantage of mapping out angles and compositions of architectural shoots prior to taking along a model, helping to give them better directions and have a vision in mind already of what I wanted.

I had visited a few different places so far and have intentions to extend my work within new locations, probably being a mixture of both intentionally visited sites and found places. A few buildings documented so far have been the council flats within Kemp Town, Brighton, such as Essex Place, Warwick Mount, St.James’s House and some locations in London being Alexandra Road Estate, Brunswick Centre and Belsize/Abbey Road Housing. The places that I have already visited and conducted shoots were a success and I have gained various pieces of content which have triggered new ideas and themes which I wish to develop further.

Dean Martindale:

Matteo Montanari:

John Pangilinan:

Jerry Buttles:

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Initial Project Proposal Ideas

Subject/Area(s) of interest:

Focusing on compositional elements such as form/shape, geometry, texture, line, light and shadow in regards to architecture

Exploring complimentary, or contrasting colour schemes that occur amongst location and fashion/garments being modelled

Considering Industrial and concrete locations, alongside tower blocks, estates, urban environments, places of a Brutalist or Minimalist feel

Genre(s)/Style(s):

Combining Architectural photography with Fashion photography, possibly through a Documentary approach

I predominantly photograph architecture and I wish to fuse this with new interests, exploring alternative photographic fields e.g. portraiture, documentary and fashion photography

The combination of genres and styles will be experimenting with different forms of composition and also with the presentation, which may appear abstract or constructed from the literal or digital manipulation

Fields:

Including editorial aspects of Fashion photography, such as the poses, garments being modelled and models used- attempting to find a variety of unique individuals with alternative aesthetics

Versatility of the work and its appearance, suitable for magazines and advertisement, or appearing as if they are stills that have been extracted from films

Minimally composed photographs could also potentially be abstract enough to show resemblance to artwork, especially if there is a strong emphasis on the compositional elements

Format(s)/techniques/processes:

Shooting in exterior locations, architectural sites

Mainly using a Digital camera to photograph shoots

Potentially will attempt a couple of Analogue shoots on film, experimenting with both black and white, and colour processes to see which result is preferred

Ideas of scanning in polaroids and negatives

Editing/Manipulation Digital softwares

Inspirations:

Fashion advertisement and campaigns that have a street feel

Brands that are high end being photographed within urban environments

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Evaluation of Page Module Project: An Exploration of Brutalist Structures & Landscapes

Project Title:

The project title ‘An Exploration of Brutalist Structures & Landscapes’ came into being once I had recognised what my photographic content was actually portraying post-exploration, so that it had the most accurate description of what remains internally. Initially, I knew I wanted to produce a photo-book on architecture, with Brutalism being particularly inspiring, the book was dedicated to exploring it’s aesthetic.

The title was dedicated after trying to emphasise which of the formal components of this style of architectural movement was predominant; producing an observational study of a combination of Brutalist forms in alternative locations. The concept of ‘forms’ were essentially the skeletal structures of the architecture, and the term landscapes appeared to be deserving of Brutalism’s dominance within the urban environment. The project’s title is reflective of the photographic content, whilst generating an uncertainty and interest of what the content actually is.

Subject:

I had an organic approach to the module, emphasising what came naturally to my photographic eye. I sought out to visit different Brutalist locations and document their physique and identity within London’s urban landscape. I have always found Brutalist architecture to be an intricate subject matter that isn’t broadly, photographically documented. In attempt to do Brutalism justice, I focused on the formal elements of the architecture; its line, shape, texture, negative space etc and how it appears behind a lens, especially when considering a perspective that is intending to enhance these qualities.

The exaggeration of the textural aspects of the architecture, being by the choice of paper and cover was to be complimentary of the content and have a coherency of theme. Translating what is seen and perceived in combination with literal materiality. The photo-book’s tactility adds to the visual ‘feel’ of the photographs and the subject matter within.

The subject matter appeared to have resemblance of an alien landscape, which in turn, inspired the manipulation of the photographs and the use of negative space, being contrasted with such dynamic designs. The digital post-production was to accentuate the geometry and precision of these structures and their appearance drawing irony amongst regular society, to which the manual manipulation highlighted this further (the binding of the two images into a singular).

Visual Research:

Through both influence and similarity, I have identified with the works of photographer Jo Underhill and Rory Gardiner, concerning both subject matter and aesthetic approach. With the appearance of colour film qualities, I have intended to mimic this material film feel to enhance the textures and tactility.

Both photographers applied a combination of a colour palette, contrasting temperature and tones that Brutalist architecture appears to emit, or reflect through its structure. I manipulated my own photographs warmer for purposes of expressing the concept of concrete and film qualities, withdrawing the distraction of colour, diverting attention on the formal elements within the compositions.

Aims, Objectives, Concept:

My aims and objectives were to sustain a coherent theme throughout and demonstrate my creative chain of thought, whilst abiding to professional standards. This theme surrounded the concept of Brutalism; its tactility, aesthetic and geometric precision. Whilst communicating Brutalism’s textural, concrete attributes through a final product. I also intended to explore a range of Brutalist locations and extract their distinctive, individual qualities that are representational of the movement, sectioning these by shoot and architectural site.

The photo-book has been successful in the delivery of my aims and objectives, having a sense of completion when held and opened. I am proud of the photographs within the book, especially the manipulations across the double page spreads. Achieving an alternative look to the other books being produced on the module, deciding to oppose from the saddle stitching and binding of sections to the spine.

I am proud of the individuality of my photo-book and the non-typical approach to Brutalist architecture, referring back to analogue techniques of connecting images by hand, instead of digital manipulation merging the photographs together.

Production:

When producing my photo-book I used three digital softwares, Lightroom, Photoshop and InDesign. These were applied to the editing process of the photographs, enhancing the contrast, warmth, removing skies and placement on the pages within a booklet. Once pleased with my photographs I would align the architecture on the double page spread, so that once it was printed I could physically sew the photographs into a singular image, by binding them together and appearing as one.

This has encouraged my project’s development and concept simultaneously; from considering analogue and digital capacities, aesthetic and materiality, I have philosophically and practically reviewed how my photographs may be perceived. This has been communicated through technique and approach to demonstrate my ideas creatively.

Presentation:

The introductory text within my photo-book briefly communicates the themes and concepts behind the content of the photographs. This is including a brief history of the Brutalist term and movement, which digresses into a more analytical reflection of the photographs, with insight to the processes involved of how the manipulation is produced.

The minimal, bold text is corresponding with the graphic forms that Brutalist landscapes take shape in. The sharpness of the font is also representative of the edges, line and geometry of the architectural structures. By just titling sections of the location, it allows for the photographs to speak for themselves without any prior context, freeing them for subjectivity, whilst acknowledging the overall theme.

The theme of the photo-book also communicates my ideas and content, with the concrete aesthetic being the underlying theme amongst the different sections architectural content, metaphorically and literally being Brutalism’s foundations.  

Evaluation:

If I were to re-experience this module I would attain further resources to work with. This would be achieved by visiting more Brutalist locations, in attempt to visually demonstrate the extensive versatility of formal components that the movement consists of. There is more content needed to show Brutalism’s wider spectrum across London, yet that is a lot of scope. I believed I made the most of the material I could obtain considering time and the entire process to produce my final product.

My strength’s would be my perfectionism in completing the page module task to a high standard, documenting my decisions and chains of thought, to the practicalities and any issues experienced. To which I feel I have conducted a thorough project and achieved a carefully constructed photo-book.

[amyenticknapp]

Photographers & Photo-Books of Influence and Consideration

Rory Gardiner, Utopia, 2016. 

The photographic series Utopia (2016), by Rory Gardiner is another piece of work that is focused on Brutalist architecture sharing the some of the same locations as myself. The title suggests the surreal, similar to my own concept, yet through a documentary approach with a pastel colour palette reminiscent of a dream. These photographs are closer to the colour palette of my photographs of Brutalist architecture, especially if by slightly adjusting the temperature warmer. This series is inclusive of human subjects, which my work does not involve, I feel this takes away from the imagination, although I find the faceless figures to be enchanting.  

Gardiner’s series differs in style to other Brutalist projects, where the formal elements predominantly consist of graphic shapes, intense contrast, line and geometry. These types of photographs of Brutalism are usually produced in black and white, in order to highlight these components; meaning that the use of colour is accentuating different forms of aesthetic qualities. This being a fantasy landscape, where the banal is appreciated through a tinted perspective of soft, pale tones, demonstrating the beauty within the ordinary and it’s concrete exteriors.

Jo Underhill, Beautiful Brutalism: Colechurch House, 2014.

The multiple series within Jo Underhill’s archive of prints, Beautiful Brutalism, made selecting a singular shoot hard to draw comparison with. However, the Colechurch House (2014) series had a resemblance to my Brunswick centre shoot, chosen to demonstrate a similar, yet different approach to the aesthetic. By emphasising the qualities of line, form, angle, shape etc, Underhill’s sunset shoot’s have an range of neutral tones with slight pigment of oranges, blues and purples being reflected off windows. This appears to contrast with the temperature of the photograph. I feel that the colour element of the photographs is one of the most important attributes about this work, alongside line.  

Underhill’s work is similar to mine through the concept of structure and finding compositions within Brutalist architecture by cropping the right sections to increase the geometry. This can also be in regards to some of my photographs in my photo-book losing edges and information in the aligning process, but by fusing them together it created new landscapes. This allows for a compositional balance of the forms within the architecture and to encourage new visions on Brutalism.

Simon Phipps, Brutal London, 2016.

Brutal London by Simon Phipps demonstrates a strong use of geometry and precision in the angles of the photographs. This is an aesthetic that my photographs intend to highlight, showing the dimensions and art of the Brutalist structures. The location within the book are the same as mine which shows that the architecture I sought out to photographically document are vital within London’s Brutalist landscape.

The cover is including a full bleed image which is alternative to my ideas for the front, whereas, I wished to keep the cover plain and simple with just text, so that the audience feels inquisitive of the content internally. The inclusion of a map is useful in showing the viewers where the architectural sites are, instead of my book, just including the name of the location. Although, I believe that this may generate interest into finding the architecture and pursue further research.

Although the content is most similar to my own, the style of the cover and use of an artificial yellow against black and white, for myself, is visually too much to consume and if simplified would stand a lot stronger as a statement.

Phipps, S. (2016), Brutal London, September Publishing, ISBN: 9781910463635

Christopher Beanland, Concrete Concept: Brutalist Buildings Around the World, 2016. 

Christopher Beanland’s Concrete Concept: Brutalist Buildings Around the World shares similarities with my own intentions to focus on concrete both as a concept and theme. The texture of the cover is complimentary of the textures of the architecture which is relatable to my overall aesthetic, differentiated by Beanland’s cover being more of a grey scale, in coordination with the prints within the book. The concept of the cover’s aesthetic is strangely identical to mine, yet my cover is of a warm, beige concrete tone, sharing the colour scheme of my photographs palette and materials used.

This photo-book however, refers to Brutalism through the perspective of its assertion and role within society and how it serves purposes of popular culture. Whilst observing the divide of love and hate in regards to the distinctive forms Brutalism appears in, attempting to accentuate the worldwide love of these international buildings captured within.

Beanland, C. (2016), Concrete Concept: Brutalist Buildings Around the World,  Frances Lincoln Limited, 2016. ISBN 1781012032, 9781781012031.

Simon Henley, Redefining Brutalism, 2017.

Simon Henley’s Redefining Brutalism has used an approach that was alternative to my immediate concepts and aesthetic. This book explores a ‘softer’ side of Brutalism, instead of the dramatic visual elements that I was initially documenting. However, it enlightened a new perspective and approach to Brutalism, with it not always needing to appear alienated, urban or concrete heavy. My intentions remained the same regarding the content that I intended to capture, yet shared similarities in appreciation of intricacy of design and showing recognition for Brutalism’s origins of practicality and efficiency.

The photo-book demonstrates the continuation of Brutalism’s social-historical roots to contemporary day, which is an idea I would consider for next time to show an evolution of the movement underlying within London, instead of the prominent landmarks and skyscrapers.

Henley, S. (2017), Redefining Brutalism, illustrated, reprint, RIBA Publishing, ISBN 1859465773, 9781859465776

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Progress & Final Outcome

April 18th:

For the sewing to bind the pages together, I first aligned all of the printed pages so that the photographs conjoin where appropriate, making sure that the prints geometrically combine with one another. Once this was ready, I secured the pages by sewing tightly down the middle section. Then I took my booklet to Wyverns, where they electrically guillotined off the crop marks and any excess page. This has already demonstrated a vast improvement from my mock version; the edges are now sharp and crisp without any tears of the newsprint with provides a far more professional finish to the photo-book. The sewing of the pages together is also neater than the previous version, proving that re-printing and making the photo-book was the right decision, especially with needing to add extra pages and an intro text etc…

All that is left is to bind the newsprint to the card booklet that I will of have created. This will be done by guillotining down the A0 card/mount board to to the correct size of the booklet and then scalping two score marks to bend a square, structured spine. I will make two replicas so that I can experiment with the embossing at Wyvern and the different techniques and tones available. One will stand as a mock and the other will be for the final version. Once this process is complete, I may finally be able to glue the first and last pages of the the booklet to the interior shell of the book so that the spine of the booklet has flexibility and movement instead of being adjoined to the actual book’s cover’s internal spine. I will experiment also with applying the glue to the paper and card just to check the mobility of the fold and how/where the paper must be attached to the card.

April 24th:

With a pencil I measured out the correct proportions of my book on the plain side on the mount board, leaving excess length for final trimming, instead of measuring the card perfectly and not having the ability to refine the edges. The measurements of the book

Width: 20.5cm

Height: 25.5cm

When the book is closed, a millimetre surrounds the edge of the pages, demonstrating that the book is proportionate and that the bind fits as well as it should.

(Check how many)

I then guillotined the card down to the penciled, outline of the cover. The card guillotined fine so there wasn’t any issues with how the edges appear, which provided a neat finish.

Then I decided it was logical and necessary to scalpel in the spine first before any further trimming. I initially attempted scalping the fold of the spine from the plain/inside of the card, however soon realised that this snaps the board and the scores need to be from the other, pigmented side in order to have the mobility needed to open and close. I did this by scoring with a scalpel and ruler a few times, lightly enough to cut half way between the card so that it creased.

To conclude the process, I re-measured half centimetres off of both the edges of the cover and began to cut down the card, finalising the dimensions so that the cover appropriately protects the content. Also, so that the edges of the cover align neatly and have sharp sides and corners.

The shade of the board was definitely the most similar in tone to the newsprint that I could locate and ties together the book’s theme. Especially as a 3rd year student was complimentary of the concrete resemblance and my creative approach to this module.

April 25th:

I took my book’s cover to Wyvern’s to get the front cover embossed. For the title I selected the exact same font and most accurate text size possible to keep the theme continuous. Then there needed to be a choice of colour for the text. I asked for colours that are closest to the cover initially, then progressed into the browns, to which I chose a dark brown. Opposing to a lighter shade title that I intended to use, I believed that the brown is more complimentary of the darker tones within my photographs. This choice was also due to the other colours not being appropriate or fitting with the theme, especially as the other brown had more of a red pigment and the olive green was close in comparison of the newsprints tone, yet didn’t relate to the concrete theme.

I am due to collect the embossed cover for the following day to which I will go into university afterwards and experiment with my mock booklet and mock covers with how to glue the pages the internal side of the booklet. Once happy with knowing whether to glue, I shall officially bind my book into a singular product.

April 26:

Today I completed the final product, my photo book ‘An Exploration of Brutalist Structures & Landscapes’. The photo book has a professional result, with the pages being inserted with as much precision as possible. This in turn, had its issues along the way but difficulties were overcome with patience and rationality.

After collecting the embossed cover from Wyverns I went straight into university to glue and bind the book to complete this entire process. Thankfully, I made two spare covers to experiment binding the pages with. I decided to experiment with a sheet of newsprint in one cover and my mock booklet in the other.

When attempting to find a method where the pages would sit appropriately within the cover by not creasing or tearing, was initially rather testing. I first tried by aligning the centre of the booklet with the spine and attempted glueing the pages, however, the pages began to crease or bubble when trying to close the book. I tried glueing down both pages at the end further from the spine, at the same time, believing that it would fit, yet book wasn’t able to fully open, which would tear the paper if forced or invert the bend/snap the cover.

As this was not successful I decided to try one page at a time, glueing bit by bit. This meant that I had to also move fast as of the glue drying rapidly, especially from using the rubber applicator that really thins the glue, however, provides an even surface area. Once happy with the bind and its flexibility, I continued to glue the remaining page down either side.

After this step I was officially complete with my photo-book and I am extremely proud of the final outcome and myself for producing a high quality product, which is both personal and professional. It feels very good to hold the final version and I am able to appreciate my hard work in a singular, final outcome. The theme is clear and effective in displaying my photographs having a consistent aesthetic and materiality.