Fergus Heron’s work is interesting to me because of his unique approach to his landscapes. He places importance on exhibition, whether that is in a formal space or other public display, regarding this as the ‘principal medium of spectatorship’ These are places for discussion, debate, social interaction and engagement. His photographs are predominantly made close to his home and are a combination of urban and suburban environments, each containing elements of the other. He chooses to shoot in quiet periods, without the distraction of people or animals, this is intended to allow the viewer to put themselves in the frame more easily and to see the space more clearly, without distraction. I think that with his urban environments in particular, this gives them a quality like a film set. I am particularly interested in his more suburban, rural photographs. He is using a large format camera and uses a chromogenic print process. The quality of his prints is sublime. The camera, film and processing decisions that he has made have resulted in photographs that are full of depth and colour. The scenes are reminiscent of Guiting wood, the place at the core of my childhood memories and experiences. the place I learned so much about nature and its role in building my foundations. The photographs below are from two different series, Hammonds Pond (2011-2012) and Harlands Pond (2013)
This work reminds me to look at my photographs for a BA module. I think that there are similarities and it might be interesting to look at how I might approach the area now, with more experience and a clearer understanding of my motivations.
During this early stage of development I decided to photograph my immediate surroundings, in Ashton under Hill. This is a well trodden area, a place I find myself in almost daily. I wonder whether it might offer up some inspiration to me. Does it hold significance in relation to my theme? As its so familiar to me, do I really ‘see’ the surroundings or am I complacent? I do very much enjoy this area of woodland but since there is a recent history of access restriction, because the woodland came under new ownership in 2020, I have felt less at ease here. Hopefully this might change over time, but I wonder if I can realistically find what I am seeking in the short term.
Whilst I like many of the images here, I don’t think they have the depth I am trying to portray. I also think that because it is summertime and the light is strong, it has proven difficult to create enough atmosphere and show the textures of the environment in the way I ordinarily would. The colours feel too jarring and the photographs unremarkable, for what I am after.
I feel some frustration at this early stage at not having a clear idea of what I am trying to present, however, this does start me thinking about the psychology of what I am doing and reminding myself of how I feel most ‘at home’ with a more immersive, slower approach to making work. With this in mind, I will research aspects of mindfulness in photography in more detail, to see if this might help to guide me.
The images above were from early on in summer when we had plenty of sunshine and not much rain at all. I wanted to see what details and features I could find around the lakes, which most resonated with my thoughts and ideas for my FMP. At this stage I am still very unsure about the direction of my theme. It still feels too broad and I hope to find what I am searching in my mind through the process of shooting, observing and researching as I go. I am very much having to ‘trust the process’ here which feels uncomfortable as I worry whether I am wasting time in heading in the wrong direction. Of course, logically, I know that this is entirely part of the process of exploring practice with new ideas and investigations but it is challenging for me to accept. It is early days, I need a better approach though so I will look into possible avenues for this.
Link to original files: 7800 IMAGES (restricted access)
My ongoing practice centres around my attempts to capture the emotional landscapes evoked by the places I know well and ‘The lake’ has become a central figure in my photographic practice. Although not the place I grew up, it is a place of significance as it has become a playground for my children to create their own memories and as a consequence, it is a feature of my own journey through parenthood. Also, for my mother, it has become her beloved home in the second phase of her life and is a haven of tranquillity and awe. I explore the lake and its surrounding environment as a space rich with memory and a witness to personal transformation. It is where family, friends and community gather, and childhood lives are nurtured. It is also a place of solitude, and where I witness the moments shared here as embedded in this living, breathing environment, it is a place that invites both close observation and distance, and I frequently return to observe, to wait, and to document.
This quote below is from a blog post that I wrote for AD7801, which comments on my stepfathers attitude to the lake. I have included this to highlight how it has become ‘the place’ for my children. It is where their own childhoods play out, with their friendships developing and growing alongside the natural environment and a life long love of nature and place is being instilled.
“David has encouraged his grandchildren (my son and daughter being among them) and their friends to make use of the space around the central farm to build camps, swim in the lakes and make bike courses, among other things. My stepfather is an incredibly clever man. He seeks out problems so that he can invent and create solutions. As a result, his environment; the house and the land, constantly changes and is an homage to his eccentricity. Above all else, to see others utilising the space, thus giving it purpose, gives him absolute joy and endless entertainment”
I will also include images from my own significant, meaningful landscapes which came before this one. Of particular importance is Guiting Wood, which I give credit to as my educator in nature. I spent countless hours immersed here, with my sibling and cousins. I frequently return, as though anchored somehow, and can’t help but reflect on how this small part of the world has played such a key role in my love of landscape and my enquiry into ideas around sense of place. Additionally, I will study my immediate landscape environment, where I have resided for the last 15 years and explored in detail, during that time.
In all cases, it is the nature connection which plays its role in creating these everlasting bonds and I am interested in how the places themselves, contain elements of our history and presence. A sense that someone is ‘in a place’ although not physically could be seen as spiritual, a sense of belonging and familiarity, even though the leaves have changed, the water is new, the DNA of those who have been there, is contained within. I will examine existing discourse around landscape and memory to better understand how our cultural identity is bound up in the natural world and how our imagination is shaped by the places we spend time in.
Immersion in these environments will be a key aspect of my project. Often too rushed, I don’t always succeed in capturing the essence of my surroundings. Using the research and subsequent inspiration I have gathered so far, from practitioners such as Jitka Hanzlova, Jem Southam and Nicholas Hughes, each of whom, have mastered deeper study methods of their chosen subjects, I hope to do deliver a thoughtful and worthwhile project. I will attempt to create a body of work that invites the viewer to pause, reflect and consider the fragility and / or strength of their own connections to their environment.
My early thoughts on presentation are to make large scale prints to accompany a handmade photobook. I hope to create memorable work which is varied and unique.
“I was born in a country of brooks and rivers, in a corner of Champagne, called Le Vallage for the great number of its valleys. The most beautiful of its places for me was the hollow of a valley by the side of fresh water, in the shade of willows…My pleasure still is to follow the stream, to walk along its banks in the right direction, in the direction of the flowing water, the water that leads life towards the next village…Dreaming beside the river, I gave my imagination to the water, the green, clear water, the water that makes the meadows green. …The stream doesn’t have to be ours; the water doesn’t have to be ours. The anonymous water knows all my secrets. And the same memory issues from every spring.”
Although this is my initial proposal, I anticipate the project will change. I have been looking through the ‘Photographers Sketchbooks’ book and note Alec Soths words on process and how in taking a single image into building a series will inevitably change direction and intention as it goes.
Already, I am thinking about loss of access to nature and how this can impact future generations; Where is the motivation to care for something if you hhave no connection to it?
In the work I set out to make for this project, I will look at how to intersect each aspect, combining the personal, ecological and geological.
Early ideas for images:
Children / others enoying their natural environment – demonstrate the benefit to being in nature, stepping away from tech, becoming creative, developing sense of self, forging social relationships.
Climate impact on our spaces
Memories, how they contain pieces of ourselves from times past.
The nature connnection – passing on of knowledge to future generations
What has been before – structures, myths and legends etc
How might the project be finally realised?
Large scale print? – maybe one single alt process print alongside others
Lightboxes, selected images plus smaller, framed prints
Potentially A2 prints in a circle (see Fig 1. screen shot of TV show inspiration)
Supporting book, with full series. to show the extent of work
Postcards of the prints?
Fig 1. Installation ideas (from a film still, tv series unknown)
Thoughts following feedback on proposal:
What will I draw on specifically?
Mindmap of each theme / idea, detailing concerns (see fig 2 below)
look at the social, aesthetic, ecological and personal aspects of practioners work
How do practitioners use composition, pictorial space etc
Fig 2. Mindmap of early ideas
Critical writings
list of key writings that I have already looked at (Tilley, Ingold et al)
cross over of themes and ideas – intersect
critical writing to include discussion around the themes as well as photography itself
Previous research and practice – especially look at AD7802 and pull out the themes, ideas, practitioners and critical writing from there. What can I expand on and investigate further? This was a module that had great impact on my own thoughts about the potential in my practice.
Other initial ideas and thoughts – quick bullet list
Images – study images already taken. Could they kick start a direction?
Could I incorporate video?
Remember that a series doesn’t have to all be one genre, think about the theme relevance.
Detailed shots
Wider shots
People
Ambiguous
formats – analogue, digital
Alt process – large scale cyanotype? would need to settle on theme quickly
Lucinda Taylor 