Eugene Richards.MIT Press,New edition (22 Aug 1974).Few comforts or surprises: The Arkansas Delta

Elliot Erwitt, W.W.Norton & Co,First Edition(16 Nov 1988).Personal exposures. Schirmer/Mosel Verlag Gm (2012)

Garry Winogrand, Frish Brandt.1999-01-02.The man in the crowd. Fraenkel Gallery

John Szarkowski, Garry Winogrand.1988.Figments from the real world. Museum of modern art

Martha Cooper.Dokument forlag,1 edition (5 Feb 2009).Tag Town

Martin Parr and Ian Walker.Dewi Lewis, revised edition (5 nov 2009).The last resort: Photographs of New Brighton Stockport

Paul Graham.Beyond Caring. Bristol: Grey Editions, 1985

Paul Graham.Empty Heaven. Zurich: Scalo, 1995

Paul Graham.A Shimmer of Possibility. Göttingen: SteidlMack, 2009

Susanne, Lange (2006). Bernd and Hilla Becher: Life and Work. The MIT Press. ISBN 0-262-12286-3

The devils playground, Nan Goldin (2003) London.Publisher:Richard Schlagman

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Visual Exploration and what it means

You search you find ..

Visual Exploration is all about exploring what the eye comes across and then interpreting that in your own unique manner. We as humans explore everyday, we’re constantly learning new things, thinking about them, putting some of them into action, this is how we are continually visually exploring the world around us and adapting to certain things within it.

Exploring and learning from everyday life is probably one of the most exciting things for me that I look forward to when I wake up every morning. Knowing that there is a great vast world out there, waiting for me to find things, write about it, photograph and talk about it. Visual exploration most definitely has no limits. Anything that has meaning to it, is worth examining, and I choose to blog about certain things that interest me,events I attend and moments that I photograph around the world.

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Throughout my life growing up I’ve learnt to document moments that inspired me, to leave a memory for someone who hasn’t found what I have found yet. It’s a joy for me to go places, visually explore, whilst learning from others and sharing that with the world to the best of my ability, with words, pictures that take the audience back in time. I have learnt a lot from studying the true meaning of Visual exploration by living my life and just simply being alive, finding the beauty in each day. And now I have finally come to realise.. 

.. keep searching, your heart deserves to feel that moment of ‘awe’ when your eyes finally visually meet something amazing.

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Henri Cartier Bresson

Henri Bresson the French photographer considered to be the father of photojournalism, was the master of candid photography and an early user of 35 mm film. Henri was well know for street photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. The subject of the photograph might be absent of people and can be an object or environment where the image projects a decidedly human. As this went on he came up with a term called ‘The Decisive Moment’ that has inspired generations of photographers ever since.

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He became inspired by a 1930 photograph by Hungarian photojournalist Martin Munkacsi showing three naked young african boys, caught in near-silhouette, running into the surf of Lake Tanganyika. The image is titled Three boys at lake Anganyika. The image captured the freedom, grace and spontaneity of the children’s movement and their joy at being alive. After seeing this image, Henri started photographing street photography, capturing moments as they happen in front of him. Henri decided to give up studying art and started to take photography more seriously. He quoted ‘I prowled the streets all day, feeling very strung-up and ready to pounce, ready to ‘trap’ life’.

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Henri Bresson later on met a Hungarian photographer named Endré Friedmann, whose name changed to Robert Capa. The two shared a studio in the 1930s and Robert mentored Cartier from there on. Robert told him‘Don’t keep the label of a surrealist photographer. Be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don’t fidget. Get moving!’. Because of inspirational influences such as Robert Capa, Henri felt compelled to go out into the street to pursue his passion, photographing people as they move around.

In 1952 Henri published his book ‘Images à la sauvette’, who’s english edition is titled ‘The Decisive Moment’. It includes a portfolio of 126 of his photos from the East and the West. As Cartier continued documenting the lives of people he said a famous quote that he lived by as he continued learning from it, he said, “To me, photography is the simultaneous recognition in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression”. From this quote we as the audience can understand why the images from his Title ‘The decisive moment’ are so intimate’. The way in which Henri photographed was definitely him being true to the moments he encountered, as the people who influenced him told him ‘Don’t keep labels, be a photo journalist’, which means from a young age he was taught to photograph freely, not to stage moments but to simply capture them.


Website: viewed 20/11/14.

Website: viewed 20/11/14

Video: viewed 20/11/14

Celebrating Christmas

Today I came across an interesting way in which you can decorate your home for christmas when it next comes around. The Japanese have a unique way of using nature to make their homes feel cosy, beautiful and different. And so I chose to blog about it 🙂


One way of coping with the chaos brought on by the demands of Christmas is to embrace the Japanese aesthetic of ‘wabi-sabi’. This is the art of finding beauty in the acceptance of transience and imperfection, and decrees a simple and modest lifestyle that’s balanced and in tune with nature.

A garden design store in Japan called Green Fingers, encourages customers to transform their home and environment with greenery when it comes to christmas, instead of many artificial items. Plants such as dried and preserved flowers, succulents, air plants, artificial flowers and driftwood are used to decorate a home inside or outside wherever the person wants.

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‘Wabi-sabi’ is the most conspicuous and characteristic feature of traditional Japanese beauty and it occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. If an object or expression can bring about within us a sense of serene melancholy and a spiritual longing, then in Japan that object could be said to be wabi-sabi.

After centuries of incorporating artistic and Buddhist influences from China, wabi-sabi eventually evolved into a distinctly Japanese ideal. Over time, the meanings of wabi and sabi shifted to become more lighthearted and hopeful.

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Curation project

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For my curation project some while back, I worked individually examining images from different photographers, to find out the meaning which is behind those certain photos. Finding out why the image was taken, where they were taken, what the size is, information about the printing process and what paper the image was printed on. All these answers needed to be answered, so that I could understand more about the photographers work and their idea behind it. I did some research about curators and came to learn that they help photographers put their chosen images together by placing them into sets. Curators also make sure that the photographers images are labelled with a title and also the current date, with other important information along with it. Curators are then left to introduce the photographers work with a written statement about the image. The statement would include information about the work for eg, how it was put together and what the photographers intentions were when taking that photograph. The whole aim that curators have is to give the viewer as much information about that certain photograph as possible, so that they leave the exhibition with a lot of knowledge about it.

I was mostly fascinated by the work of Paul graham and so I looked further into a series of his work called ‘Beyond Caring’, which had my attention. The images were taken between 1984-85. In these series of images, Paul photographs the carelessness of humanity in this world throughout cities, hospitals and work places. The careless attitude that we have all seen before in people where-ever we go. This curation project was all about noticing whether the ‘Text’ (title) matched the ‘Image’. Most certainly in this set of work from Paul Graham. The viewer can see the expression on the peoples faces in the images, they show carelessness, tiredness, that giving up face, which is what Paul is trying to show, and his Title definitely matches his photographs.

Looking at the images of Paul Graham, I started to ponder on the thought that maybe he is expressing something he himself experienced in his past life, sharing it with the audience of today who are experiencing the same thing. What I mean by this is the carless attitude that is seen everywhere in todays society. People don’t talk about it, but when you see an unhappy face it instantly puts you in a bad mood and others around you. This left me with a question such as, Was Paul Graham fed up with seeing this, wanting to emphasise how much negativity is actually around in the world today, and so he decided to photograph various locations showing the same emotion from people to demonstrate this?”. This is the idea that I got from examining his images, it was the most obvious thing that I noticed.

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Photographs were taken from-

Beyond Caring. Bristol: Grey Editions, 1985.

Empty Heaven. Zurich: Scalo, 1995.

A Shimmer of Possibility. Göttingen: SteidlMack, 2009.

Martin Parr

Martin Parr is a British documentary photographer. His photographs contain an intimate and satirical twist to modern life. He particularly documents in social classes and also the wealth of western countries. Some of the well known projects that Martin has produced are, ‘The cost of living’ (1987-1989), ‘Small world’ (1987-1994) and ‘Common sense’ (1995-1999).

Martin has had over 40 books published and has also been featured in around 80 exhibitions in many countries.

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I came across one of these books ‘The last resort’ which I studied and are a series of forty photographs that were taken in New Brighton at a beach suburb of Liverpool. The photos were taken with a medium format camera and with a daylight flash. Martin Parr printed eleven images from ‘The last resort’ in large format edition of five for his 2002 retrospective at the Barbican Art Gallery, London.

The photographs Martin Parr took within this Album were taken between 1983 and 1985. They depict a seaside resort past its prime with attractions designed to appeal to an economically depressed working class society with overcrowded beaches, video arcades, beauty competitions, tea rooms and chip chops. The series was exhibited at the Serpentine Gallery, London and in 1986 was published as a book. By looking through his book I saw how Martin captures any unusual moment, this is something I want to put towards my shoots.

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After publishing these images in 1989, they divided both critics and audiences alike. Some saw it as the finest achievement to date of colour photography in Britain whilst others viewed it as an aberration. With the benefit of hindsight there is little doubt that it transformed documentary photography in Britain and places Martin amongst the world leading photographers. Martin Parr viewed the decaying holiday resort of Brighton and its holiday makers in a way that was new, unique and deeply disturbing. He also did this in colour, something which at the time was seen as revolutionary for documentary work. For some his camera seemed cold and cruel as it followed the working classes desperately pursuing their holiday dreams surrounded by dereliction, decay and wading through the endless detritus of a pollution society. Others felt it showed an affectionate, humorous and humanistic response from Martin himself.


Book: Martin Parr and Ian Walker.Dewi Lewis, revised edition (5 nov 2009).The last resort: Photographs of New Brighton Stockport.

Website: viewed 27/11/14

Black and white prints

So my photography course has started and right at the beginning we were exploring what it is like to work with black and white film cameras. (I should have blogged this earlier). A while back me and rest of my colleagues on my photography course were taken to the new forest and a harbour village. We were  told to photograph the landscape and terrain there experimenting with different light and shadows within our images.

Time went on and I then learnt how to use the darkroom and how to process my black and white film. I then developed my film and this is how they came out.

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After I developed some film, I produced several contact sheets before producing my final images. For my first contact sheet I experimented with four different exposures, 5,10,15 and then 20 to see which exposure would show my images the clearest. This is what my practice contact sheets look like. You can see the different shades of light.

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I came to a conclusion that an exposure of 13 seconds would be good, and so i tried it and was happy with the end result. Most of the images can be seen clearly, although when it came to producing my final chosen images I had to change the exposures so that my images came out with the correct shades of light. This is my contact sheet with a 13 second exposure.

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I then developed my final image

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