Networking – Kickstarter Campaign

Kickstarter crowd funding (Professional context)

Putting on an exhibition is an expensive business even when it is quite small. Because of the cost of printing, mounting and advertising I have decided to start a crowd funding campaign with Kickstarter. I have never done this before, so it is a very new experience for me. I have seen some campaigns by friends and family that have been successful so this inspired me to give it a go. I have set my goal not too high at £300 because Kickstarter have an all or nothing policy, I will only receive pledged money if I reach my goal. If pledged money goes over my goal I will receive all the money. I have already started promoting my Kickstarter campaign on social media and I also hope to promote it on some online forums including the OCA forums. I feel that this is an exciting opportunity for me to help fund my publication and also unexpectedly it is another opportunity to advertise my exhibition as well. Their is a time limit on Kickstarter campaigns, I set mine to the maximum of 60 days which means it will finish just before my exhibition.

Part four – Resolving and promoting your publication – Collating feedback

Collating feedback (Presentation and outcomes)

My exhibition at the local library will be on display for about a week. I hope in that time I can gather some positive and intelligent feedback. By getting feedback I will be able assess how successful my publication has been and how effective it has been at communicating my themes and ideas. The feedback can be used to refine my project and make decisions on future publications or exhibitions. Recording audience footfall at my exhibition and receiving feedback may help in the future to gain further funding or to get my foot in the door of other galleries.

I plan to have a visitor’s book, which is a traditional and valid way of collating feedback. This book will be a useful record of visitors contact details and email addresses. I will be creating a Facebook event and I will encourage people to leave comments there. Comments can also be left on my Facebook wall and possibly my Twitter feed. If possible I will also get people to comment on my blog. I need to ensure that my website address and Facebook page is shown clearly on my marketing materials and on display somewhere at the exhibition itself. I am considering offering a free print or postcard to people who contribute a comment and valid address.

I plan to be at the exhibition on the Saturday and will make appearances most days when possible. This will give me a chance to talk directly to my audience and get feedback verbally through them. Viewing the audience viewing my work can also give me a feel for people’s reactions to the work.


Part four – Resolving and promoting your publication – My artists statement

Writing an artists statement

At the start of this course I made my first attempt at writing an artists statement. At the time it seemed okay but now I need to really develop it and make it more consise and aimed directly at my current project. It needs to contextualise my current practice and be written in a way that is suitable for the general public. It should be remembered that not everyone reading it has an arts background. This new artists statement will be a useful introduction to my publication and could be used on my website at the start of the gallery. It can also be printed and placed next to my prints or a smaller copy could be printed and given to visitors at the exhibition  itself.

Some very useful advice can be found on the J M Colberg website (link below).

I found the advice on the website very useful and have now written an enhanced artists statement, that is tailor made for my current publication.

Kieren Welch – Arists Statement

Part four – Resolving and promoting your publication – Agents and other marketing opportunities

Agents and other marketing opportunities (Professional context)

For this exercise I will consider what other marketing opportunities are available to me and even  look into the possibility of getting an agent to find me work.

I have to admit I have never even considered the possibility of having an agent. I will start doing some preliminary research online and then contact any that I think could help get me work. Luckily I live quite near London where a lot of agents appear to be based. I will make a list of agents websites below that may be relevant to me.


Alamy –

Marketing my work online using stock libraries is something that has interested me for some time. Below are two links provided in the course notes which help to clarify the requirements of stock libraries. Alamy seems to be the preferred option by the OCA. In the past 100% royalties would be paid to OCA students, I am not sure if this is the case anymore as the second link no longer works?

Alamy is a reputable stock library website. Alamy have strict guidelines regarding the uploading of images and keywording for each picture is a neccasisty. To be accepted by Alamy you have to submit a selection of images so that they can ascertain whether your work is of a high enough standard. I am happy to say that I have been accepted by Alamy and can upload work to the website to be viewed and even purchased! I have uploaded more than a thousand images already, most of them being stuff I found on my hard drive from old projects and jobs. I will be uploading a selection of images from my current project’s as well.


Saatchi Art –

Saatchi Art works a bit like a stock library but you are expected to sell unique artworks or limited edition prints. Anyone can create an account and then upload and market their work on Saatchi Art. This does lead to a huge amount of work being on offer, not all of it good. However it is a good platform for new or emerging artists to try their luck.  I like the fact that all types of art can be viewed and even purchased here. You can also follow other artists that interest you. This adds a social element to the website that allows you to network with other artists from similar fields.

Artworks on the website are displayed clearly and searching for a particular genre is easy. Uploading work is a bit time consuming as you have to include a lot of information with every piece you upload. It appears that some artists have good sales here which is encouraging. Because it is very time consuming I will only upload my very best work at first and see what response I get.


Part four – Resolving and promoting your publication – Traditional media and press release

Traditional media and press release (Professional context)

In this digital age of the Internet it can be easy to forget the more traditional methods of promotion. Local newspapers and magazines, regional radio and television shouldn’t be ruled out.

The press release is one of the traditional methods of advertising the key points of a publication or exhibition. In it should be information about what the publication is about, who is the author, when and where the work can be seen and where will the artist be available for interviews or comments. The press release once completed will need to be sent to everyone on my media contact list (preferably posted and emailed). Some great advice about writing a press release can be found on the website links below.


I need to develop a list of local press contacts and keep it updated. Below is my most up to date list.

public relations network


I will write a short press release for my publication and this will be sent out to everyone on the list shortly before the exhibition starts.

Press Release NEWEST

Part four – Resolving and promoting your publication – Social media

 Social media and enhancing online presence

(Professional context, creativity, presentation and outcomes)

In order to publicise my publication effectively online I need to keep up to date with my all my social media outlets . Online social media is now one of the most effective marketing tools a business can utilize. Some of the most used and well known sites include Facebook, Twitter, Instagram and Flickr. I have created new profiles specifically for my current publication. This will allow me to disseminate my images all over the world. Also I can use some sites to promote any events that I might put on locally that are directly related my publication. This might be a photography exhibition, an artists talk or even a book launch in the future. Below is a list of direct links to all my social media profiles. As I progress through this course I will continue to update my social media sites and even add new ones. This is something I consider to be of vital importance to the promotion of my work as well as being an excellent tool for networking and keeping in touch with other artists.

Instagram –

I think Instagram has to be my favourite social media site. It’s primary focus is on images and short video clips and seems like the ideal platform or for photographers and artists in general. I love the simplicity of the layout. Like many social media sites it is really a micro blog. There are no ‘friends’ on Instagram instead you simply follow people. You can alter the privacy settings so that you can monitor and block some users or just make it completely public like a website and allow everyone to view it. In my opinion it is important to keep my Instagram profile public so that I can publicize my work fully. As well as following other people on Instagram there is a nice feature, a page where you can view random posts by people that you don’t follow. Posts displayed on this page are normally related to people you follow or your search history on Instagram. This allows your own posts to be viewed much more widely, a great feature I think!

A nice feature of Instagram is that is less formal than say Facebook and their does not seem a desperate need to give lots of personal information.

Facebook –

Facebook is one of the most widely used social media sites but it seems to be losing appeal recently among younger users who prefer Instagram. I find the that Facebook seems to want a lot of personal information and this has become an issue for some people recently as their have been cases of hacking and corporate collusion. Despite some privacy issues it is still an extremely popular platform. You can have a personal page which is kept more private for friends and family and a second more public page can be made for small businesses, artists and public figures. This second public page is a very powerful marketing tool for artists. Almost unlimited amounts of images, videos and text can be shown and disseminated to a wider audience. Websites can have integrated ‘like’ buttons which then adds to the exposure of the business. I have talked to some small business owners that have said Facebook has greatly helped promote their business. I have started my own public Facebook page to help promote my latest project and hopefully more projects in the future.

Twitter –

Another popular social media site is Twitter. You simply follow other users and view their posts by scrolling down the page, similar in a way to a blog. This is a more text based platform which seems to suit mobile phones very well. Photographs, videos and links can be added to short messages. A lot of people myself included seem to enjoy posting links on Twitter. I like how this simple platform has changed very little over the years and does not require a lot of personal information. It is ideally suited for short comments posted while on the go, possibly at an event or in a break at work. Linking to new blog posts or online content of the user is another good way of self promotion online.

LinkedIn –

LinkedIn has been nicknamed the Facebook for adults. It has a much more professional and corporate feel about it. I find the interface a little bit confusing at first, but the more you use it the better it becomes. It has an important place for professionals to interact and promote themselves to a wider audience. It can be used to look for potential new employers. I personally don’t think that I have made full use of this platform yet, but will be trying to use it more to promote myself in a professional manner.

Flickr –

Flickr is a very photography heavy platform and I love it for this reason. It is optimized for the viewing and dissemination of photographic work. It is great for nerds like me who like to see every bit of technical information about the photograph. This is made possible because meta data recorded by digital cameras is often displayed with the pictures, great! Pictures can be viewed in galleries and at full resolution. This is something that other social media sites often fail to do. Being able to view a full resolution image full screen is really awesome. This social media platform is a firm favourite of mine next to Instagram. Users have to be aware that their is a possibility of their work being copied illegally if uploading full resolution images. This may put off some professionals off from uploading a lot of images that their would rather sell. This fact makes Flickr a more amateur platform in many ways. Despite this it can be used to promote professional users work, possibly by uploading lower resolution work.

Google+ –

As far as I am aware Google+ has shut down its consumer service. It has recently been hit with a bug that made online users very vulnerable. Because of its privacy and security issues I am seriously considering getting rid of my Google+ account.

YouTube –

YouTube is a video sharing platform. It has become extremely popular over the years with millions of users worldwide. One feature that is very entertaining at times is the comments feature. This can be turned off by the person uploading videos, but the interaction of comments must ultimately increase online traffic and help to promote the work being shown. Despite YouTube’s popularity it does seem to suffer with constant copyright breaches. It has recently began to advertise very heavily at the start and even while videos are being viewed. This is very annoying. A subscription can be paid to get rid of adverts which is something I am considering as I am a heavy user o YouTube myself. I have uploaded some of my own videos to YouTube and this has made it easier to embed them on my blog. I am sure clever use of this platform can help to promote artists and their work.

Vimeo –

Similar to YouTube being video orientated. Vimeo does seem to be a more serious and less amateurish in its concept and feel. It seems to be more popular with the arts crowd and academic circles.

Part four – Resolving and promoting your publication – Updating my website

Updating my website

(Professional context, creativity, presentation and outcomes)

My artists website  is constantly being updated as I make new work. I upload new images to my current portfolio regularly. Uploading new work to a website helps with ‘natural’ SEO and increased visibility on search engines. As well as updating the website regularly I also update my blog often. The blog is connected to my website so this also increases its online visibility becoming easier to search for.

One of the reasons I used my current website hosting company is that they ensure my site looks good on a variety of devices. It is optimized for viewing on desktop computers, laptops, tablets, and even smartphones. This allows for searching and viewing online seamlessly whatever the device.

Web optimisation is becoming increasingly important in the extremely competitive photography industry. Because of this I have started to add key SEO functions to my website. I have opened a Google analytics account and added the code to my website. This enables me to track where visitors to my site are from and see what content is popular. It also let’s me see what search terms are popular. The pages in my website have been optimized by adding keywords and short descriptive phrases. These inbedded keywords and phrases make it easier for people to find me and my specific expertise.

Part four – Resolving and promoting your publication – Book design

Book design 

After doing some preliminary research earlier in this course I have decided I won’t be making a book for my publication. Instead I have decided to concentrate on my online presence and an exhibtion of my project in a public space.

Part four – Resolving and promoting your publication – The exhibition context

Creative and presentation decisions to complement my work in an exhibition space


Choice of paper for my prints:

I normally opt for standard C-Type matt or lustre finish prints for my portfolios but I thought that for my final publication something a bit more special was needed. My preferred photo lab offers various types of photographic papers and finishes. Some of the finishes available include glossy, metallic, pearl, lustre, matt and velvet. I’m not really a fan of glossy colour prints and metallic is a bit over the top so I had a few samples made using pearl, matt and velvet.

The new photographic paper called Fuji Velvet was amazing, I loved the quality and finish of it. I had a larger test print made and fell in love with it straight away! The smooth matt finish is ideal for exhibition prints as it has no reflections and does not show fingerprints either. It also has a luxurious velvety feel about it, lovely!  It was an easy decision to make. I had all my prints made using the Fuji Velvet paper and I am extremely happy with the results!


Presentation of exhibition and hanging tips:

I have never put on an exhibition before so I need to do a bit of research into the different options for hanging prints and the most effective way to present my art works. Below are some links to webpages and YouTube videos which hopefully will help to enlighten me.


A really useful video that explores the way that a curator makes creative and presentation decisions while hanging an exhibition in a gallery. He discusses the use of key pictures and making order from chaos as he finds spaces for particular art works. The importance of juxtaposition that can either enhance or detract from certain works was something useful to consider. The importance of lighting and how effective it is to show pictures at their best is something I will be considering carefully for my own exhibition.

Installation of Matisse’s Blue Nude’s in the Tate Gallery, London is discussed in this inspiring video. How the artists thinking evolved, which images are grouped together, which walls should be used, how are sculptures integrated and how is everything lit. So many things need to be considered carefully. The curator makes many creative decisions that can make a big difference to how a body of work is displayed and perceived by an audience. This video has made me think more carefully about all the possibility’s of showing my own photographs in a public space.


The exhibition context

Baldock Library, Hertfordshire

I have now made the decision after much consideration that my publication will take the form of an exhibition. I have had discussions with several venues including, St Albans Museum and Gallery, Baldock Arts Centre, Baldock Library, Amp Gallery in Peckham, a community hall in Letchworth  (very close to where I live) and several cafes and restaurants including Chegworth Valley in Notting Hill. I secured a space at Baldock library for an ‘exhibition’ in November 2019. Another possible venue, a querky cafe in Notting Hill has had to be abandoned. The location in Baldock is excellent although their are some strict rules about how I display my work. I have visited the library many times so I know it well and I know the type of people that visit it (the biggest advantage of the venue is a high footfall). The course notes has a list questions regarding potential venues for an exhibition and I will try to answer these below.

What is the relationship between the venue (spatially, architecturally, historically) and your photographic work?

Their is a historical link with my work that often explores historical battlefields in the English countryside and the town of baldock. The town itself was founded by the Knights Templar so that they could make money to fund the crusades. The taxes from the towns market would buy supplies and weapons for the soldiers.

Much of my work has been made the local rural area (sometimes on or near farmland) so I feel that my prints will fit in very well with the venue. The A1 motorway which is very near the town was built by the Romans who would have fought many battles with Celtic tribes in Hertfordshire.

What is the scale of the venue: how will your work physically fill the venue?

The library is relatively small but the open plan layout makes it feel more spacious. Although I can not use all the walls for my display, my prints will be on show in the most prominent parts of the library.

What services are available (electricity, running water, etc.)? How will the lighting of the space affect how your work appears in the space?

Electricity is available. Unfortunately their are no refreshments available in the library. The light is very good as many windows provide beautiful natural light in all parts of the venue. It has artificial lighting although I am not sure how effective the lights would be? Because of he serious nature of my work, subdued lighting could enhance the mood of my displayed prints.

Bigger isn’t always better: thoughtful use of a more intimate space can be more effective than installing in a more impressive venue for the sake of it.

The display space for my installation isn’t huge and could be described as being intimate. This I think will be an advantage as my prints will appear more prominently. It also means that I don’t have to make my prints too huge. Most of my prints will be  24″ x20″ in size.

Are there any particular architectural details, such as niches, alcoves, etc., that can be used to incorporate your work?

I don’t think so.

How can you manage the space and how the audience moves through it? Is there an order to how the work should be seen and how can you control this pattern?

I plan to show many of my large prints using a grid layout which allows for close comparison of the prints. I will also be showing some prints in a linear way. My work is sequenced by the date of the violent event. My exhibition could also be viewed in two parts, battlefields and murder sites. This is something I need to consider carefully.

Who is legally responsible for the space? Do you need public liability insurance in case anyone is injured at your exhibition?

The library had comprehensive insurance.

How accessible is the venue? How can you maximise audience footfall, for example by coinciding your show with another event, activity or festival?

The library is on the ground floor so it is very accessible for elderly and disabled people. There is also lots of parking outside and disabled parking spaces.

I could target people attending the library with flyers and in the local shops. I can also put flyers in the community centre across the road which has a lot of visitors.

How can you communicate the theories and ideas of your photographic work? Will you need signage or is the work self-explanatory? Are there other, subtler ways to help your audience understand what your work is about, such as juxtaposition of other things?

I will print my artists statement about the project as a large format mounted print and put this on an easel close to the installed works. I will also produce a handout with all the images and titles.
How attainable is the venue and how realistic are your ideas?

I have secured a slot for one week at the library. I believe all the ideas that I have discussed here are realistic and viable. I have already printed flyers for the exhibition. I have ordered several large test prints which I will take to the venue next week to see how they might look in the allocated space. I will be measuring the walls to workout exactly how many prints I can hang and I will make some recce photographs which can help me to visualise how my work will look once it is in place. Google Sketchup or Blender app could be used to help me visualise the space better.

Part four – Resolving and promoting your publication – Final edit

 Final edit and editing for different contexts

(Creativity, presentation and outcomes)

I am always updating my research and shooting new work for my current project as it is constantly evolving and expanding. Because of this doing a final edit is difficult. In this post I will include my latest ‘final edit’ though this may change in a few months when I put on an exhibition at the local library in Baldock. I am still unsure of the exact amount of images I will use in my show as I am still in discussions about this. I think 12-16 is around the right figure. The photographs will be 24″ x 20″ and 20″ x 16″ in size, mounted on foam board without frames.


An unknown number of tribesmen were killed during the Battle of Wheathampstead in 54 BC. It’s thought British losses would have been significant as it led to the surrender of the Celtic tribes in Britain to Julius Caesar (Gallic Wars).

Looking at this photograph gives me a feeling of tranquility and peace. Such a stark contrast to the bloody event that happened here nearly two thousand years ago. It reminds me a little of Roger Fenton’s The Valley of the Shadow of Death, 1855. Fenton’s photograph would have been taken not long after the battle happened as he evidenced the cannonballs littering the valley. My image shows no such evidence apart from the physical scar on the landscape itself of the deep defensive ditch. After reading the title I imagine a viewer might ponder the bloody battle that happened here and historical consequences of Julius Caesar’s victory. It is one of my favourite images from a new batch of work I made for my project, not just because of the way it looks but also because of it historical significance.



Hundreds of Vikings were slaughtered including King Guthrum II (King of the Danes) during the Battle of Tempsford in 917 AD (Britons, Saxons and Vikings).

It’s interesting how the mind works and how memories effect the brain. Although not intentional my photograph looks quite similar to an image made by Joel Sternfeld, for his On This Site project. Central Park, north of the Obelisk, New York, 1993 is a photograph made at a place where young girls body was found. The light in Sternfeld’s image much like mine is very beautiful natural side lighting. I was attracted by the contrast and texture the light produced on the tree truck. I struggled for a while to find the right balance but I eventually found what I thought was the best composition by locating the tree in the first third on the left of the frame. I love the way that the light falls on the leaves on the right hand side of the scene. For me this perfectly balances the composition. I was enjoying using my new wide angle lens which is probably the best I have every owned!



Hundreds of Vikings were slaughtered including King Guthrum II (King of the Danes) during the Battle of Tempsford in 917 AD (Britons, Saxons and Vikings).

Not much remains of the Viking castle which once stood here, but the moat is still clearly visible and a bridge that crosses it. I wanted to evidence the remnants of the castle in my photograph after making another more abstract image. The early evening light created some strong contrast which was tricky to control but made the photograph much more dramatic! Symmetry was key to the success of the composition together with the dramatic lighting. Symmetry plays an important part in many of Paul Seawright’s photographs that he made for his Sectarian Murders and Fires projects. Made during the ‘Troubles’ in Northern Island, Seawright visually documents places changed permantly by tragic and violent events much like my own work. Seawight’s images are often complemented by long descriptive titles, sometimes quite graphic in their detail. At the start of my body of work I started to do this but soon realised it was quite controversial. Later on I revised my titles to be less graphic but kept the essential information.



An unknown number of soldiers and civilians were killed during the The Siege of Hertford Castle between the 12th November – 6th December 1216 (First Barons War).

Taken at the same location as the last image, I wanted to make a less abstract photograph and show a little bit more detail of the castle walls. The combination of a weathered and aged man-made structure and the natural beauty of the overgrown vegetation makes for an intriguing  juxtaposition and reminds one of the passage of time. This passage of time takes the viewer back to the time of the siege at Hertford castle. This photograph reminds me of Angus Boulton’s mysterious landscape photographs of abandoned Soviet military complexes. His book Restricted Areas includes several such images although the ruins are from a much more recent era. His historical documents like mine remind the audience of the fragility of regimes, empires and governments. All will cease to exist eventually and the remains will be reclaimed by nature.



An unknown number of soldiers and civilians were killed during the The Siege of Hertford Castle between the 12th November – 6th December 1216 (First Barons War).

Bart Michiels’ book The Course of History was a massive influence for me during the later part of this course. I greatly enjoyed Michiels’ more abstract renditions of historical battlefields. His project much like mine concentrates on places effected by violence many years ago. Passchendaele 1917, Goudberg Copse, 2005 is a stunning example of his more abstract photographs which combine beauty, colour and repeating patterns. My own photograph is beautiful while remaining descriptive. The original castle wall is still visible although nature appears to be reclaiming the space around it. I wanted to capture the various textures and colours of the plants surrounding the wall. Keeping the whole image sharp from foreground to background allows the viewers eye to wander around the scene and take in all the details. This image looked great when printed as a large 24” x 20” velvet matt print for my exhibition.



On 15th June 1381, Corpus Christi College in Cambridge was attacked. The college itself was burned and many royal officials were killed. (The Peasants Revolt, 1381).

I have always admired the way that Walker Evans would photograph vernacular architecture in simple but effective way. He would often compose the scene looking straight on at the main subject. His precision and craftsmanship would always shine through and he could transform a fairly ordinary setting into something quite special. His book American Photographs has many example of this. Although he worked mostly in black and white, towards the end of his life he started to experiment with instant colour film. At Corpus Christi College I was instantly drawn by the strong perspective made by the cut grass. It leads the eye towards the front of the building which is lit by the late afternoon sun. It brings out all the details of the building perfectly. The small sign in the bottom left of the image acts like an anchor and also adds a little bit of textual information (a bigger print reveals what it says). I feel that this photograph perfectly depicts the college and the composition is made stronger by the symmetry of the building and the shapes found within the scene.



On 15th June 1381, Corpus Christi College in Cambridge was attacked. The college itself was burned and many royal officials were killed (The Peasants Revolt, 1381).

I have always admired the precision and craftmanship of Thomas Struth’s photography. He normally uses a large format camera mounted on a tripod and he carefully composes his images. His early black and white work concentrated on street scenes and architecture. His photograph Prinzipialmarkt, Munster 1986 is similar in some ways to my own photograph of Corpus Christi College in Cambridge. A street scene where the architecture dominates, it makes the people passing by seem almost insignificant. But the people do give a scale and a historical reference. I wanted to convey a feeling of timelessness, and sadness in my photograph. This place was attacked and burned during the peasants revolt and knowing this information adds intrigue and forces the audience to contemplate the trauma that happened here many years ago.


150 men were killed during the 1st Battle of St Albans on 22nd May 1455 (Wars of the Roses).

This road was barricaded during the battle and bloody struggle continued here as soldiers attempted to breakthrough it. I made the most of the strong perspective created by the road and building to the left. Throughout this project I have refrained from ‘beautifying’ my images by using Photoshop. I wanted to create photographs which depict a place as they are in a documentary/journalistic way. I want to see the real place not a fiction. I think this ethic comes from when I used to used analogue cameras exclusively and make prints in a darkroom. I also kind of enjoy little unexpected punctums that so often litter photographs. It’s these unexpected details that I enjoyed so much when I viewed Guy Tillim’s Grand Hotel, Beira, Mozambique, 2008 and his other large scale prints at the Constructing World’sexhibition in the Barbican Gallery in 2014. Nadav Kander’s Project Yangtze, The Long River which was also featured in the same exhibition also displays these little details that I find so fascinating.



150 men were killed during the 1st Battle of St Albans on 22nd May 1455 (Wars of the Roses).

‘Late photography’ does not normally include a lot of movement or people featured in the image. Being a busy market town it was hard to avoid people in St Albans town centre, but I enjoyed the juxtaposition between the people and the achitecture. I decided to compose the image in a similar way to my Corpus Christi photograph and used the people walking through the scene to add colour and hint at the modernity now present in this ancient city. I set up my tripod and then took a number of frames, trying to balance the composition as the people passed through. I liked this image the most because the woman in the bottom right corner adds a vibrant colour accent with her bright red jacket. What fascinated me here was how little the town centre had changed since the War of the Roses. The movement of people in the scene reminds me a little of Henri Cartier Bressen’s work and the way he would balance a scene with people and archetecture.



6000 men were killed or injured during the 2nd Battle of St Albans on 17th February 1461 (Wars of the Roses).

According to my research the clock tower seen in this image was the location of some fierce fighting with bowman killing many soldiers as they tried to navigate the narrow street to the right. Again this image juxtaposed architecture and people in St Albans city centre. The woman in yellow added a subtle colour accent to balance the clock tower. I spent about an hour in this one spot and made many images until I felt that I had captured one with the perfect balance. The flat lighting works perfectly to emphasis the details in the buildings in particular the brick work of the clock tower itself. Stephen Shore was the master at photographing urban landscapes when he made his book Uncommon Places in the 1970’s. He would use a large format camera mounted on a tripod and take great care in making his photographs. Every lamppost, kerb, building, and signpost would play a part in his intricate compostions, colour as well would further enhance his imagery.



More than 3000 men were killed or injured during the Battle of Northampton on 10th July 1460 (Wars of the Roses).

After I frustrating couple of hours looking for the best vantage point in the Northamptonshire countryside my eyes fell upon this stunning scene of large old oak trees backlit by the early evening light. I made a few pictures instinctively, carefully metering on the trees themselves to avoid under exposure. I wanted to make sure the texture of the tree trunks would be clear because this is an important part of the scene as well. I’m not sure of the exact age of the trees, but it is possible they were sidlings around the time of the battle. The three trees balance each other in the scene and create a strong triangle (I remember studying this in year one). I get a strong feeling of depth in this photograph, a common compositional tool used by landscape painters for centuries. The lighting was tricky, but the rays of light breaking through the foliage of the trees create a painterly feel which is quite beautiful. Simon Norfolk’s photographs of ruined landscapes in places like Iraq and Afghanistan also made good use of beautiful lighting and echo the look of traditional landscape paintings.



More than 3000 men were killed or injured during the Battle of Northampton on 10th July 1460 (Wars of the Roses).

I saw the long grass blowing in the wind and it reminded me of pictures that I had seen of historical World War One battlefields in Belgium and France. I wanted to create a minimalist feel with my photograph with a dynamic created using the rule of thirds. I love the minimalist work of Andreas Gursky and I was in awe of his exhibition that I went to see at the White Cube many years ago. What I think is important in work like Gursky’s is that they are expectionally sharp and show huge amounts of detail. These details however tiny become fascinating to the audience when large scale prints are seen, for example in a galley space. I wanted my own image to be very sharp and I believe I was successful. The individual blades of grass become a repeating pattern across the bottom third of the image. The line of trees in the mid ground underlines a grey cloudy sky which somehow evokes a melancholy somber feeling that reminds one of a terrible event that once happened there.



An unknown number of men were killed or injured during the Battle of Maldon on 10th August 991 (Britons, Saxons and Vikings).

For this photograph I was definitely aiming for a painterly effect. The composition is dominated by the sky, a metaphor for heaven perhaps? Turner’s paintings come to mind, although nothing specific. I’m aware that Turner used to love the light of the South East coast (not too far from Essex) and it was this beautiful early evening light combined with the winding causeway that really makes this scene come alive. The causeway was crucial for the making of this image not just as compotisional tool, but because of its historical use by the Viking’s during a decisive battle with the Anglo Saxons. To emphasise a strong perspective I made sure the causeway started in the bottom right corner of the frame. It then effectively leads the eye into the rest of the scene, the island and eventually the sky.


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A 27 year old man was shot and killed in Ramsey, Cambridgeshire on 28th September 1990.

Another one of my original photographs made on a film camera. The former garage seen here is the likely place where a young man was killed and I wanted it to be central in the image. The composition is minimalist with beautiful early evening light creating a painterly effect. The drum scanned film has created a very sharp and detailed landscape image. The long grass blowing in the wind draws the eye into the scene. Zooming in on the digital image or looking at a larger print reveals huge amounts of visual information. I enjoy looking at the larger print and studying all the little details. I feel like I have drawn subconsciously from the New Topographics for this photograph (researched while completeing level two landscape). Frank Gohlke’s Near Crowley, Texas, 1978 has a similar feel about it although the building is much more prominent in Gohlke’s image. Alec Soth’s Johnny Cash’s Boyhood Home, Dyess, AK, 2002 also looks familiar but with less dramatic light.



78 unnamed people died in a barn fire in Burwell, Cambridgeshire on 8th September 1727.

Shot on film and drum scanned, the detail and clarity in this photograph is abundant. This image demonstrates how a landscape can change dramatically over time. This location was originally much more rural looking and at the top was a large barn that burned down. I think the winding road and curb make a strong perspective while the lamp posts, telephone pole and wires create some interesting vertical and diagonal lines. I really like how the telephone wires stretch out diagonally across the top half of the image. Actually quite subtle, it might not be obvious to the causal viewer. Since completing the level two landscape course I very much enjoy photographing urban landscapes. The New Topographics have been a massive influence on my work. English villages often have a quaint mixture or rural and urban which gives an artist lots of subjects to include in an image. It’s hard to ignore Stephen Shore’s influence on my work here.


A teenage girl was murdered in Midsummer Common, Cambridge on 24th August 1876.

This is one of my favourite prints from my original body of work. Made using a medium format film camera it exhibits a painterly quality and a moodiness that hints at the subject matter. The composition effectively uses perspective and rule of thirds. The late afternoon light is beautiful and creates good texture and colour in the vegetation. I enjoyed the juxtaposition between urban and rural provided by the traffic lights and lampposts to the right and the trees and grass to the left. Eugène Atget’s Hotel de Sens, rue de l’Hôtel de Ville, Paris, from the early 1900s is a great example of perspective being used to enhance a composition in an urban setting. Also the curious lack of people in my own photograph made in Cambridge somehow mimics Atget’s photograph made in Paris.