Meiselas, S. and Magnum (2016) Latin America (1978-2004). Available at: (Accessed: 4 November 2016).

Bernd and Becher, H. (no date) New topographics. Available at: (Accessed: 4 November 2016).

Young, C. and Chamberlain, F. (2011) No Place Like Home.

Clark, E., Stallabrass, J. and Deghayes, O. (2010) Guantanamo: If the light goes out. Stockport, England: Dewi Lewis Publishing.

Tate (2013) Peter Fraser. Available at: (Accessed: 26 October 2016).

Home (2016) Peter Fraser. Available at: (Accessed: 26 October 2016).

Cotton, C. (2014) The photograph as contemporary art. 03rd edn. London, United Kingdom: Thames & Hudson.

Howarth, S. and McLaren, S. (2011) Street photography now. New York: Thames & Hudson.

Francesca Woodman, ‘providence, Rhode island, 1976’ 1976 (1976) Available at: (Accessed: 25 October 2016).

Townsend, C., ’Extracts, F.W., Woodman, F. and Berne, B. (2006) Francesca Woodman. Edited by George Woodman and Betty Woodman. New York: Phaidon Press.

Evaluation / A Safe Place

“A Safe Place”

Four final responses to the given brief of “Environment”, exploring various approaches from analog to digital whilst refining concepts regarding the everyday. Conceptually focused upon intrusion and depicting presence of myself within my surroundings, inviting the viewer in to explore these private playful moments in which I felt most comfortable to express myself naturally in, thus regarding as “a safe place”.

Mesmerised by Edmund Clark’s fixation upon banal objects and Francesca Woodman’s environmental portraits, these domestic spaces influenced my own practice heavily. Noted within a number of test shoots taken over the seven week period – from documenting objects in which are often overlooked, to the elements of my bedroom which hinder an uncanny presence of past eras.

Granted, both photographers used analog to support their practices. However, challenging myself I explored new mediums and after attending a number of digital workshops began shooting numerous test shoots with a Canon 5D Mark ii, ensuring the rawness I desired could be documented through digital outcomes- proving successful.

Including myself as a the main subject within the final four photographs, depicts the viewer as a trespasser, bare witnessing from the outside in, as if you are the intruder upon a private moment. The authenticity can be questioned, however documenting myself alongside my beloved cat and the frequent change in poses signifies the natural characteristics you cannot forge.

Hints of juxtaposition radiates within my choice of a monotone dress contrasting against my B&W cat, displaying surrealistic notions. Whilst reducing eye contact to the lens (viewer), supports the concept of intrusion further to these off guarded happenings.

The outcomes as a whole produce a series of environmental portraits, immersing you into my surreal world and love for past eras, expressed heavily within the repetition of the outdated yet hypnotising wallpaper. Connections between myself and the slight details hindering in the background exposes my interests and loves for the natural world also. Finally, all outcomes were furthered adjusted through Lightroom using presets to mute the colours and age them.

The final photographs acknowledge the brief set, responding to an exploration of space and environment. Yet, with more time I would explore other subjects within their environments to help refine concepts regarding intrusion as self portraits came with minor obstacles. An example, using the inbuilt camera timer meant focusing and adjusting each shot – a very lengthly process and limited by natural daylight.





Refining concepts regarding intrusion upon my surroundings, I redirected my attention to myself and banal elements found within my room. Depicting aspects in which are often overlooked by a viewer if shown individually, yet yield importance when held directly towards the viewer. Combining identity with environment forming self portraits within my surroundings and fixating upon intrusion conceptually. However successful, compared to previous test shoots the outcomes as a whole do not fulfil the concept I wish to portray. Redirecting my attention to finalising edits of past shoots to four final outcomes, fulfilling the brief of environment.









Furthering concepts surrounding intrusion upon my personal environment, I opted to document myself at a different period of the day to cover all perspectives. Reflecting myself in my room again, using only my laptop as a light source produces an almost cinematic feel as if we are witnessing me from the outside in. However successful, I am unsure if the outcomes provide the narrative and concept I desire to portray and will return to documenting in natural daylight – exploring other elements of my bedroom, whilst collectively forming four final photographs.




Inspired by the outcomes from a previous test shoot documenting my partner and the work of Francesca Woodman, I returned to my own personal environment now including myself and beloved cat. Introducing myself into the environment drew narrative, forming connections between myself and the details documented behind whilst reflecting my interests and love for animals/plants.



A hint of juxtaposition radiates through my choice of a monotone dress contrasting against my B&W cat, conducting an element of surrealism, especially in the shot of the cat standing. Engrossed by intrusion, I will refine documenting other sections of my bedroom further to finalise my work into four outcomes based conceptually upon personal yet everyday surroundings.




The position of the photographer/the gesture of looking ‘inside’ 

Throughout the history of photography, we are exposed to environments we are yet to encounter for ourselves. Photographers such as Francesca Woodman introduces herself and other subjects within uncanny environments, forcing the viewer to intrude inside personal moments. Emphasising upon form which depict environmental portraits highlighting sensitive issues involving the human body. The viewer is truly immersed by the rawness behind Woodman’s viewpoint of herself and others. Long exposures capture movement forming an essence of her presence whilst contrasting with the ‘inside’ of the rooms.

We often take our surroundings for granted yet Woodman truly took advantage of the position she found herself in. Translated within interiors and the banal – subjecting the ‘inside’ as the basis of her photography is a knowable method to connect with an audience and express herself. The ‘inside’ can be seen as a safe place to anyone, we all have somewhere enclosed in which we seek comfort in. However, these photographs play with surrealism and carry an unsettling motion, situations in which we all seek to avoid yet feel interest in if exposed to.

Breaching the boundary point between the ‘inside’ and the viewer, leaves the photographer in a vulnerable position to expose the viewer to aspects of the world we overlook. The ‘inside’ is a vast environment bordering upon intrusive, who truly knows what occurs behind closed doors without such imagery.

Francesca Woodman, ‘providence, Rhode island, 1976’ 1976 (1976) Available at: (Accessed: 25 October 2016).


Francesa Woodman – surreal, notions of fear, environmental portrait


William Eggleston –  timeless, photographing from the inside out, nostalgic

Francesca Woodman

An influential contemporary photographer, which developed a large body of work over a short period of time before her suicide. Francesca Woodman’s death greatly heightens the value behind her work – who at the time had still been developing her practices and understanding herself as a person. Woodman’s raw yet playful archive reveals surreal notions, combining her interest in art history with her practices. Woodman invites us to view her perspective, depicting forms in contrast to their surroundings and the objects in which they come into contact with. Carrying narrative throughout her work, seeking a sense of freedom beyond her surroundings. Francesca Woodman’s response of form to signify an object as if they belong on a display are elements in which I will introduce into my practice, combing natural lighting with playful poses – exposing myself and other personal objects.


Townsend, C., ’Extracts, F.W., Woodman, F. and Berne, B. (2006) Francesca Woodman. Edited by George Woodman and Betty Woodman. New York: Phaidon Press.


Where is the street today?

Street photography can be present in any given moment, wether captured through google street view or even CCTV, it is an unavoidable notion documenting the past 150 years. In spite of todays technology, photographers are persistent and still patiently wait for a shot. However, they are faced with new restricting laws and refined security. Unfortunately the increase in terrorism has also tarnished street photographers, creating suspicion towards their practice and to the extent of having to be granted official permits to shoot in certain public spaces. Even against this difficulty, photographers persevere and adapt to society as it is today, contributing to documenting our ever changing environment.

Howarth, S. and McLaren, S. (2011) Street photography now. New York: Thames & Hudson.

  • Visual Exchange
  • Encounters
  • Raw
  • Reflects the individual
  • Where the crowd is
  • Cinematic moments
  • Public spaces



Bill Cunningham

  • Candid
  • Culture
  • Documenting
  • Everyday



klein_dance-660x462William Klein

  • Wide Angle
  • Raw
  • Dream like
  • Surreal



Elliott Erwitt par116905

  • Juxtaposition
  • Humour
  • Negative space