Landscape as a fiction
On the outskirts of St Austell in Cornwall locals describe the conical-shaped mounds of waste, produced by china clay mining, as the Cornish Alps. This is a reformed [...]
Post-industrial landscapes
Along with being credited as the inventor of photography, Daguerre is also known for perfecting the diorama. “The diorama - like most illusionism, and particularly like photography – [...]
Unoccupied spaces
Gaston Bachelard, in The Dialectics of Outside and Inside (1994: 211), explores a poetics of ‘being.’ Countenancing philosophical and linguistic determinations in relation to space, he proposes that [...]
Ritornello: the little return
‘Ritornello’ (the little return) is a series of square diptychs predominantly showing the industrial landscape of the china clay area. Each pair of images is created from a [...]
Essentialism and the landscape
Photography, as a subject and an object of study, needs a new and contemporary language which will articulate what it is now becoming. The problem of how to [...]
Entrelacé: how technology, movement and visuals are interlaced in the film design for the Royal Ballet’s ‘Woolf Works’
In the previous century it was film and moving images that would often provide a context for thinking about questions relating to the human condition. Not by directly [...]
The incompleteness of looking
For users of the mobile image-messaging app Snapchat, expressiveness is largely mediated through in-built filters, described as lenses, and the extensive use of short pieces of text and [...]
Why study for a photography degree?
Why study for a photography degree? It could be convincingly argued that the technical skills required to make photographs are becoming easier to learn and master. For many people, [...]
Snapchat: a brief encounter
For users of the mobile image-messaging app Snapchat, expressiveness is largely mediated through in-built filters, described as lenses, and the extensive use of short pieces of text and [...]
Periphery vision: data as image
In this paper I begin by suggesting digital photographic images should be considered as being neither a purely visual experience nor a purely perceptual one. Instead, I argue [...]