The object of the assignment was to take a series of pictures of buildings to effectively and attractively describe the way in which these spaces were used.
I found the process to be very challenging as I generally am not that enthusiastic about images of the interiors of buildings (although I realise in hindsight, I was limiting myself by thinking like this). The idea of having to portray the buildings in an attractive way was also quite a distraction for me when combined with the idea of showing the practical use of the space. I tend to be drawn to more abstract shots of buildings so this was a very difficult project for me.
I was originally going to select buildings which were designed and built for one purpose but now have a different function (eg The Truman Brewery, the Buddhist centre in Bethnal Green which used to be a firestation; St Patrick’s School on Buxton St) but I was concerned that this would not fit the brief closely enough.
My declared aim was then to shoot pictures which I could see accompanying an article in a magazine about the building in question. It could be very difficult to capture all facets in four or less images so I have tried to focus on some key elements, with pictures that have some visual appeal and interest for the viewer.
I chose to build the assignment around some big themes: work; worship; travel; shopping and play.
A. WORK: The UPM Caledonian Paper Mill, Scotland
This paper mill, built in the late 1980s, is based near Irvine in Ayrshire. It employs about 300 people and produces 280,000 tonnes of paper per year. Things have clearly changed for the paper industry in the last two decades and this is reflected in the mill. There is massive over-capacity in the market, with the decline of newspaper and magazine sales. That, plus ongoing technological developments, has had a tremendous impact on staffing requirements – both in terms of the number of workers and their skills. Meanwhile, the pressure for improved sustainability increases all the time. Caledonian has its own power station with electricity being generated from wood fibre. UPM Kymmene, as one of the largest paper suppliers in the world, is very focused on renewable sources, responsible forestry and recycling in the manufacturing process.
Most of my preferred photos from the tour were quite abstract images of the machines, which I found very appealing. They reminded me of the Michael English airbrush paintings of train wheels from the late 70s which admired so much when I was first experimenting with art as a teenager.
A1.
Exposed: August 4th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF50mm, f1.4 USM
Aperture: f1.4
Shutter speed: 1/8000
ISO: 100
Focal length: 50mm
White balance: Auto
Location: Irvine, Ayrshire
Lightning: overcast
This shot was designed to show the scale of the mill and the sheer volume of wood being used every day. Spruce logs are brought in trucks from nearby forests, which are carefully managed to be sustainable and as environmentally responsible as possible. These are then processed via long conveyor belts filtering off logs that are too large or small. The image also shows something of the Scottish weather. I was not able to get to a vantage point to show the entire mill as it stretches across several acres but I think this photograph depicts a good sense of its purpose and use.
A2.
Exposed: August 4th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF50mm, f1.4 USM
Aperture: f1.4
Shutter speed: 1/60
ISO: 400
Focal length: 50mm
White balance: Auto
Location: Irvine, Ayrshire
Lightning: interior
It was hard to find good shooting angles inside the mill as the equipment was vast and I was restricted to only having one lens with me (I had not expected to be permitted to take my camera inside so was travelling light - not fully prepared). This image does however give a sense of size and of the intricacy of the paper-making machines. The colours and textures were actually quite beautiful and I find this image to be surprisingly attractive. Pulp is being sprayed onto a screen (“a wire”) to remove the water before it is dried by a series of huge hot rollers. I got the sense that in the past, the platforms around these machines would have been populated by a large number of staff. We saw very few people during our tour as much of the production is now automated.
A3.
Exposed: August 4th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF50mm, f1.4 USM
Aperture: f1.4
Shutter speed: 1/320
ISO: 400
Focal length: 50mm
White balance: Auto
Location: Irvine, Ayrshire
Lightning: interior
No flash
It was good to see encounter some actual mill workers on the tour and this chap personified the professionalism and friendliness of the people we did meet. He was in a small room with some lab equipment, testing the chemicals used to bleach the mechanical pulp and the compounds designed to regulate the acidity of the whole process. I think this picture shows very well that it definitely had more of a factory-feel than a laboratory.
A4.
Exposed: August 4th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF50mm, f1.4 USM
Aperture: f1.4
Shutter speed: 1/320
ISO: 400
Focal length: 50mm
White balance: Auto
Location: Irvine, Ayrshire
Lightning: interior
No flash
I think this is a good image to show a very important part of the paper mill – the end of the production line, where huge rolls of paper are ready to be collected for shipping. Several details give a good sense of the overall feel of the factory: the yellow and black paint on the small kerb show the emphasis on safety; all the markings on the floor indicate the wear and tear from heavy machinery; the mugs and toaster in the small office reminding us of the day to day human comforts; the harsh strip lighting as there no windows in this area.
I am not a big fan of objects being out of focus in the foreground of my pictures. I have often wondered if there is a ‘golden’ ratio to work to – what is the maximum percentage of the whole area of the image which can be soft in the foreground for it still to be acceptable to the viewer? This image pushes that boundary for me personally but I liked the way the sharp focus of the rolls wrapped up in brown paper lead the eye into the scene – hence it was included in the set.
B. WORSHIP: Christ Church Spitalfields, London
Religious buildings have, for centuries, dominated townscapes around the world, usually being the centre of the community - up until more recent times, at least. Traditionally very large, dramatic and ornate, they are designed to symbolise power and to glorify the gods worshipped inside. They make people feel small and awe-struck which in turn helps those in power to control populations through religion. On a practical level, these buildings are designed to house a very large number of people for worship and sermonising, as well as baptisms, weddings and funerals.
In 1711, an Act of Parliament authorised the use of taxes to build 50 new churches in order to accommodate the burgeoning populations in London. A commission was established with its members including Sir Christopher Wren. Only 12 churches were actually built – one of which was Christ Church, designed by Nicholas Hawksmoor, who was considered to be one of the great masters of the English Baroque style. It was erected between 1714 and 1729. It is already an impressive building but I have often tried to imagine how stunning it must have looked in the early 18th century when most structures would only have been two or three storeys. In his intro for the guide book, the Rector Reverend Andy Rider writes, “Visitors and tourists may stand in awe at this building whose size reminds us of His eternal and cosmic sovereignty.”
B1.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF16-35mm, f2.8L II USM
Aperture: f2.8
Shutter speed: 1/40
ISO: 400
Focal length: 16mm
White balance: Tungsten
Location: Spitalfields, London E1
Lightning: interior, no flash
I love the sheer scale of the building seen from this viewpoint. The shot really portrays the exaggeratedly large features of the interior, especially through the contrast of the tiny people in the nave. If we weren’t so accustomed to churches being designed like this, it would almost seem like a scene from a children’s fantasy story. We can clearly see in the image the large space for several hundred worshippers and the high ornate ceilings and beautiful chandeliers. This looks like a warm, peaceful but awe-inspiring place for spiritual reflection and the glorification of a deity – an effective portrayal of the purpose of the building.
B2.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF16-35mm, f2.8L II USM
Aperture: f2.8
Shutter speed: 1/40
ISO: 400
Focal length: 16mm
White balance: Tungsten
Location: Spitalfields, London E1
Lightning: interior, no flash
I aimed to show some of the really simple beauty of one of the corners of Christ Church in this image. The view is looking up the stairs, which lead to the organ and the galleries. The light, the colours and the architectural shapes and shadow lines make for a wonderfully abstract picture. But, at the same time, we can see the function of the area with a compact but solid, safe and suitably-lit staircase for church-goers to access the long pews up in the gallery. I hope this shows another facet to the building that is not often photographed.
B3.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/8
ISO: 400
Focal length: 45mm
White balance: auto
Location: Spitalfields, London E1
Lightning: interior, no flash
Here is a portrayal of the building being used exactly as it was designed. Two people are seated in the nave, one looking at the altar, the other gazing heavenwards at the beautiful ceiling. Stained glass was usually placed in churches to offer visual aids to the stories from the bible to help with understanding and to try to deepen the human relationship with the god being worshipped. Presumably this would also serve to prevent views of the outside world so that the church-goers would be completely focussed on their worship. The two stone monuments in this picture are of Sir Robert Ladbroke – a lord mayor who is buried in the vault of the church – and Edward Peck who was one of the Commissioners of the Fifty New Churches and laid the foundation stone for the building. The image also captures some of the messiness of the new demands of our modern existence with display screens, fire extinguishers, exit signs, utilitarian chairs and so on.
B4.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/60
ISO: 1250
Focal length: 45mm
White balance: auto
Location: Spitalfields, London E1
Lightning: interior, no flash
I felt that this viewpoint allowed the best portrayal of the size of the nave, the main area in Christ Church for the parishioners to attend a service, which has a capacity for over 400 people. It shows the simple neo-classical design, the practical, hardwearing wooden panelling and the attractive but functional floor. The natural light and the warm chandeliers give the interior an almost contemporary feel, following the restoration of the building, which has taken place in stages since being close to dereliction in the late 1950s. As churches go, it is quite welcoming and appealing. This, to me, speaks to the intended position and purpose of Christ Church in the living community – it is a centre for outreach work with local teenagers, the homeless, alcoholics and sex workers, as well as being a sacred refuge from the bustle of London life.
C. TRAVEL: Paddington Railway Station, London
I love travelling, especially by train, so it is always an exciting treat to be at one of the grand old London stations. Paddington would, no doubt, have been designed partly to reflect the power and wealth and prestige of the owners Great Western Railway. Opened in 1854 and designed by Isambard Kingdom Brunel, the structure is made up of three spans of wrought iron arches with two transepts connecting them.
Of course, this is a very busy place and sometimes these are difficult scenes to capture. I often find the end result looks messy with people falling off the edge of the shot and distractions in every corner so I have made a real effort to not let myself be troubled by that for this assignment.
C1.
Exposed: October 1st 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/200
ISO: 640
Focal length: 24mm
White balance: auto
Location: London, W2
Lightning: interior, no flash
This image was taken from a very familiar viewpoint for me as we often travel from Paddington to see friends and family in Cheltenham and Bristol. I think it captures well the vast space of the concourse with so much movement and the waiting around and anxious checking. It includes many descriptive details – CCTV cameras with anti-pigeon spikes; the blue stand for free copies of Metro; the departure boards; the little dog; the range of clothes people choose to travel in; WH Smiths bags; the huge ark-like ribs of the ceiling. I love the shadow lines from the massive window above the shopping and food area and I feel the overall seen describes effectively the purpose of this part of the building.
C2.
Exposed: October 1st 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/640
ISO: 640
Focal length: 97mm
White balance: auto
Location: London, W2
Lightning: interior, no flash
This image was designed to show the great height of the ceiling of the train shed. Obviously, as most London stations were built when trains were powered by steam, it was necessary to have sufficient space above to avoid a dangerous build up of smoke and steam. This would also have helped with acoustics in an incredibly loud place and could allow more natural light. From this viewpoint, we can also get a sense of the length of the trains and the platforms and how, even in a busy place, there can be a lot of empty space. There are bursts of activity and concentrations of people swarming around an arrival or departure and then huge areas, which seem completely – if temporarily - abandoned. This really intrigues me about Paddington. When we are there, I often wonder how it was possible that Mark Speight’s body was not found for several days after his suicide at the station. With such a focus on anti-terrorist I expected to be spotted and told to stop shooting but no one seemed to notice me.
C3.
Exposed: October 1st 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/250
ISO: 640
Focal length: 82mm
White balance: auto
Location: London, W2
Lightning: interior, no flash
In contrast to the previous image, here I have tried to capture one of the bursts of activity as passengers who have just disembarked hurry past those rushing to get their train out to the west of England. I like the layers of this image and think it works well to show how the space is designed and used.
C4.
Exposed: October 1st 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm f/4L IS USM
Aperture: f4
Shutter speed: 1/1000
ISO: 400
Focal length: 24mm
White balance: auto
Location: London, W2
Lightning: interior, no flash
My final image in the Paddington set is slightly more experimental for me. This was one of the seemingly abandoned areas of the station. We were waiting for a Network Rail employee to bring a ramp for Matt’s wheelchair but didn’t see another human being on the platform for at least 15 minutes. This shot appealed to me as I felt it really depicted the intrinsic connection of the train to the terminus, with almost all of the lines leading towards a vanishing point. It has movement, even though everything is completely still. It has speed and scale and power. The open train door leads the eye and tempts the viewer to get on board and, as such, it effectively – and I hope attractively – describes the way in which Paddington Railway Station is used.
D. SHOPPING: Spitalfields Market, London
I have been to Spitalfields Market, with a camera, so many times over the years that it was quite hard to approach it with fresh eyes.
The name Spitalfields is a contraction of ‘hospital fields’ relating to a hospital near Bishopsgate, dating back to the 12th century. There has been a market on this site since the 17th century and part of it is a beautiful Victorian Grade II listed building. As the financial district has grown and moved further east, this part of London has seen an influx of more wealthy residents which has had an impact on the look and feel of the neighbourhood. A recent corporate development project has added high-rent office blocks and shop units around pristine open spaces, pricing out many of the artisan traders who have now shifted into warehouse spaces on Brick Lane.
D1.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF16-35mm, f2.8L II USM
Aperture: f2.8
Shutter speed: 1/50
ISO: 320
Focal length: 25mm
White balance: auto
Location: London, E1
Lightning: interior, no flash
This sums up the Sunday market for me – busy, claustrophobic, multi-cultural, messy, make-shift. There are some evocations of the local merchant history with the furs and imported boxes in the foreground and the mysterious white sack of something. People are looking, buying or selling – a clear depiction of the building being used as it was designed.
D2.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF16-35mm, f2.8L II USM
Aperture: f2.8
Shutter speed: 1/100
ISO: 320
Focal length: 33mm
White balance: auto
Location: London, E1
Lightning: interior, no flash
This image shows the activity in the market viewed from one of the restaurants on the mezzanine. I think it captures a little of the charm that still remains. We can see some of the original Victorian brickwork at the back and the cosy stalls lure that in thousands of people from across the capital each day. The blue and red plastic roof covers for the stalls are new - and entirely pointless as this is a covered market - but were presumably introduced to make it seem more quaint? I like how the composition of the image connects the scene with the street, even though this can’t be seen. The line of blue plastic roofs leads the eye towards the spill of natural light to the right of the picture, suggesting the free flow of human traffic in and out of the market. Shoppers are browsing and buying and soaking in the atmosphere – using the building exactly as it was designed in the 1880s.
D3.
Exposed: October 30th 2011
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF16-35mm, f2.8L II USM
Aperture: f2.8
Shutter speed: 1/40
ISO: 640
Focal length: 27mm
White balance: auto
Location: London, E1
Lightning: interior, no flash
This image, for me, captures the gentrification of the area generally and specifically the new ‘Traders Market’ but also harks back, wonderfully, to the textile industry heritage of Spitalfields. Huguenot refugees brought the silk trade here after the Revocation of the Edict of Nantes in 1685 and this has been a strong tradition ever since – drawing in Irish, Jewish and Bangladeshi immigrants. There is now a new movement of designers and fashionistas selling their wares in the market. With 25,000 visitors a week to Spitalfields, it is such big business that some stall-holders will not allow photographs to be taken of their clothes - designs are frequently stolen, copied and sold on, particularly in Japan. Many new trends crop up here before finding their way to the catwalks or the high street. The composition of this photo leads the viewer’s eye in to the two girls looking at the fashion shoot images near the provocatively life-like mannequins.
E. PLAY: Weavers Fields Adventure Playground, London
My final ‘building’ is actually an outdoor space but I thought it would be a good choice of subject matter to depict the play aspect of human activity. This is a local authority-owned play area which always boggles my mind as there is clearly very little attention to health and safety guidance - very refreshing in this day and age in my opinion. It is an area where kids can go nuts in the city without adults fussing around them too much. A place where kids can be kids. In this set, I have tried to capture how inviting and attractive this playground is and how it is used. It was closed at the time of shooting which I think adds a new dimension to the scenes – there is always something a bit eerie about empty playgrounds and this one certainly feels like time was stopped suddenly. The bleak weather has also, in my opinion, made these images much more interesting – the snow adds a peaceful silence.
E1.
Exposed: February 5th 2012
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm, f/4L IS USM
Aperture: f6.3
Shutter speed: 1/320
ISO: 100
Focal length: 105mm
White balance: auto
Location: London, E1
Lightning: very overcast, late morning
This is classic teenager territory: the five-aside size football net – with an abandoned blue and white ball just visible under the snow; the graffiti; the laminated signs requesting that no rubbish be left on the Astroturf; a big plastic dustbin. The random piece of black fabric inexplicably tied to (or caught on?) the metal mesh fence seems to balance the whole composition. Meanwhile the two blue poles, from a swing set in the foreground, frame the open gate and lead the eye to the goal. This is not the kind of photo I would ‘normally’ take and there are some aspects of the composition that still make me feel a little uncomfortable but I am very happy with the interplay of the lines and the textures created by the cages. It clearly portrays how this space is used and even looking at it with such snowy stillness, I can almost hear the sound of the ball hitting the mesh fence, the boys shouting and the thump of their sports drinks bottles hitting the bin.
E2.
Exposed: February 5th 2012
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm, f/4L IS USM
Aperture: f5.6
Shutter speed: 1/125
ISO: 100
Focal length: 70mm
White balance: auto
Location: London, E1
Lightning: very overcast, late morning
This covered area serves as a central base for the playworkers and volunteer adults – there are notice boards; chairs positioned to observe the main play area; a no smoking sign; overflowing council wheelie bins; a couple of lifeless hanging baskets. A ladder is close at hand as the huge wooden climbing structures need regular maintenance. During the day the metal shutters are raised and inside is an office, a kitchen and another play area. Kids run up to these windows regularly to get drinks and snacks and to speak to their carers. For me, it is the rope netting that really brings life to this scene, a clear indication that, far too often, a stray ball has hit an unsuspecting adult or foosball player.
E3.
Exposed: February 5th 2012
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm, f/4L IS USM
Aperture: f5.6
Shutter speed: 1/640
ISO: 100
Focal length: 105mm
White balance: auto
Location: London, E1
Lightning: very overcast, late morning
This scene appealed to me mainly for the way the bikes have just been abandoned where they stood. It seems that there has been no adult intervention, either in the form of telling the child to store the bike appropriately or clearing up after the children have gone home. I think all the colours and shapes work beautifully in this image and it successfully indicates what a fantastic and unusual playground this really is. The snow adds to the slightly surreal feel. It is a place I would have loved to have had near my house when I was little.
E4.
Exposed: February 5th 2012
Equipment used: Canon EOS 5D Mark II
Lens: Canon EF24-105mm, f/4L IS USM
Aperture: f4
Shutter speed: 1/500
ISO: 100
Focal length: 24mm
White balance: auto
Location: London, E1
Lightning: very overcast, late morning
My final image is a wide angle view of the playground looking north. This sets the play space into the context of the local residences in Bethnal Green. It also shows the scale of the wooden climbing frame, which looks like a giant game of Ker Plunk has gone a bit wrong. This huge, handmade structure is entirely unique and ever-changing, in stark contrast with the traditional swing set in the foreground – possibly the creepiest of all playground equipment, thanks to a myriad of horror films. We can also see picnic tables and basketball hoops – plenty to keep the kids enthralled at the centre of their local community. Underneath all of this, as revealed in sheltered patches, is just grass. No artificial soft landing surfaces. This is rough and tumble – a true adventure playground.
Key things I have learned from this assignment:
- I just need to bloody well get on with it – I have been agonising about what/where to shoot and really it is more important that I focus on how and why
- I need to be more adventurous with my approach, more confident with lighting techniques and more experimental (less lazy) with different lenses
- It would help to study more photographs of interiors to understand better what works and what doesn’t – and why
- Everything doesn’t have to always be perfectly composed or with textbook depth of field to be a good photograph
- Whilst I always struggle with this, I find it a bit easier to write a narrative about images I am not that sold on than the ones I think are really good – is this the sales person in me trying to justify the inclusion of the images in the set?
Hi Helen, I'm following your blog with real interest because I'm enrolling next for P&P so you'e a role model for me.
ReplyDelete