Month: March 2021

Contact sheet and final image selection

Assignment 3

Summary:

In this post I

– Included my annotated contact sheets for my final shoots, including the images I don’t want to use, what images are good and what needs editing if necessary.
– Briefly referred to my shoot plan and explained how I set up my shoot.
– Included camera settings and changes made throughout.
– Explained my timescale choices in more detail and discussed what I learnt about each shoot.
– Mentioned my weaker images and why.
– Discussed post-processing and how I came up with my final images.
– Briefly covered what these shoots have taught me.
– Included my final images, what I liked about them, the techniques I used, the artists who inspired me and what I liked about the (in)decisive moment.
– Wrote a brief reflection in bullet points about this process.

Before editing and analysing my final images, I made contact sheets, annotated and analysed them to find images strong enough to create multiple double exposures in the post-processing stage.

  • Fig. 1. Contact sheet 1 (2020)
  • Fig. 2. Contact sheet 2 (2020)
  • Fig. 3. Contact sheet 3 (2020)
  • Fig. 4. Contact sheet 4 (2020)
  • Fig. 5. Contact sheet 5 (2020)
  • Fig. 6. Contact sheet 6 (2020)

As stated in my shoot plan, I wanted to isolate a variety of perishable goods within the camera frame, across the space of a few minutes, hours, days or weeks. Setting the camera up in a domestic environment meant that I had to consider people walking around and moving items within the house during the photoshoots. With these thoughts in mind, I made sure to pick an area suitable for this project without the possibility of knocking the camera or subject between shooting. 

The items were also in an area that wouldn’t be affected by direct sunlight, another interference I wanted to avoid, in turn, preventing the chances of the final image blowing out from the light. 

After shooting the images ‘Final shoot 97-104′ (see Fig. 5), I decided to put a white piece of cardboard behind the items, as the wall and fireplace took away from the beauty of the flowers in the shot, distracting the eyes and overall ruining the images. Thankfully I was able to crop the image down in photoshop to save the image. 

Due to the changes in light that would naturally occur throughout the day, the shutter speed was ever-changing; to avoid under or over-exposure. The distance between the subject and my Sony A57 stayed the same, as I didn’t touch either item besides the shutter button during the shooting process. Another consistency throughout these shoots was the aperture (F/1.8) and ISO (400). Using a shallow depth of field meant that the focus was entirely on the subject in the frame, while the background was soft and un-disturbing. 

The time scales for this project were determined by the perishable goods I chose and the amount of time that seemed suitable enough to show signs of decay. Fruit peels and fresh foods tend to perish quickly once the air gets to them, so I decided to capture a selection of 3 perishable foods across 4, 6 and 8 hours (see Fig. 10., Fig. 11., and Fig. 12). As seen in the contact sheets the foods began to curl, wilt and show signs of oxidisation within the first hour, the exact changes I wanted to document. Overlapping these pictures in photoshop allowed me to show the process items went through across their chosen timeframes, something we don’t usually see all at once. To the naked eye, we see signs of decay very slowly, not necessarily seeing all the tiny changes as they’re happening, so being able to capture the ‘invisible’ and see all of the changes, big or small is fascinating. Double exposures are ghostly in appearance, as can be seen in my research on Martin Dietrich. Despite my images not being taken within the camera, I wanted to achieve the same ghostly paths of time that Dietrich managed to produce without removing the colour to keep a sense of life within the photograph. 

Flowers take a fair amount of time to wilt, depending on when they were picked and preserved, allowing me extra time to document the changes within them. The timescale for the flower images were 4, 8 and 12 days. Increasing the number of flowers showed the differences between each variety and their life expectancies. 12 (see Fig. 9) was taken across the space of 4 days, with no water to keep them fed, so the time it took to wilt was almost immediate compared to the other flower images, both of which had more foliage and water to prolong their life. 

After adjusting the exposure levels and temperatures, I used various blending modes to create my desired imagery. ‘Lighten’ allowed the images to become slightly transparent and ghost-like, lifting the exposure slightly, doubled up with ‘multiply’ brought back the shadows and textures within the overlapped images. Alternating blends and opacity levels allowed each image to be seen throughout the image while documenting various textures, shapes, colours and life paths.

As seen in the contact sheets, I also attempted to take pictures of frozen foods melting across a few minutes, however, it was unsuccessful. There wasn’t enough time between the shots, to show any changes and present the desired outcome in post-processing.

Capturing the ordinary and overlooked items we see around us every day, whether that be the food that feeds us or the flowers that make our homes looks pretty, makes you realise how beautiful they are too. Taking influence from Nigel Shafran, who shot a lot of his work in a domestic environment and took the imagery of mundane subjects we have learnt to ignore, has allowed me to respect the life and death of the things around us. Not everything lasts forever; items eventually break down and become nothing, which is why the mundane is special and no less important than the most extraordinary subjects. Each life cycle is unique, neither two are the same; this alone makes the project indecisive, numerous images and moments are involved.

Final Images

  • Fig. 7. 4 (2020)
  • Fig. 8. 8 (2020)
  • Fig. 9. 12 (2020)
  • Fig. 10. Four (2020)
  • Fig. 11. Six (2020)
  • Fig. 12. Eight (2020)

Reflecting on my initial thoughts surrounding the (in)decisive moment, I feel as if I have successfully explored what it means to me. Removing context; like many artists have done when capturing their own (in)decisive moments, allow the viewer to come up with their theories, what one person may think about this set of images may be different to somebody else. The decisive moment felt black and white and straightforward to me, almost telling the story to those viewing it. (In)decisive moments, however, show a multitude of paths and moments, all of which are unique and wonderful. The varying opacities throughout this set show movement and colour changes. Highlights and shadows capture the transitions from each minute, hour or day and the changes in light, textures in the shot, fallen petals or gatherings of dust. Centralising the subject, removing the background and fixing the frame isolates the focal point, with very little to distract the eye from it. There is so much happening mid-frame that you do not need the hustle and bustle of a busy street to document a unique and extraordinary image. The grain and pops of colour within the images create a vintage and film-like finish, much like Nick Waplington’s works of art, saturated in some areas and desaturated in others.

Reflection:

– I’m proud of the images I have ended up with and the process I took to get them.

– The research I did, has helped me understand both the decisive and (in)decisive moments in a much clearer way and the differences between the two, albeit small.

– These shoots have made me more appreciative of the mundane, as well as the life and death cycles of nature.

– It’s inspired me to explore double exposures in further detail and perhaps take some of my own in-camera sometime in the future.

– I’ve become more aware of the importance of composition and the set-up of a shoot, removing items in the background e.t.c.

List of images:

Figure. 1. Powell, L. (2020) Contact sheet 1 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Contact sheet 2 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Contact sheet 3 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 4. Powell, L. (2020) Contact sheet 4 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 5. Powell, L. (2020) Contact sheet 5 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 6. Powell, L. (2020) Contact sheet 6 [pdf, screenshot] In possession of: Lauren Powell: Eastleigh.

Figure. 7. Powell, L. (2020) 4 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 8. Powell, L. (2020) 8 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 9. Powell, L. (2020) 12 [image] In possession of: Lauren Powell: Eastleigh.

Figure. 10. Powell, L. (2020) Four [image] In possession of: Lauren Powell: Eastleigh.

Figure. 11. Powell, L. (2020) Six [image] In possession of: Lauren Powell: Eastleigh.

Figure. 12. Powell, L. (2020) Eight [image] In possession of: Lauren Powell: Eastleigh.

Mindmaps + Shoot plan

Assignment 3

Summary:

In this post I have

– Included the assignment brief for the (in)decisive moment.
– Explained briefly that I have researched both moments in further details and considered the ability to shoot during lockdown.
– Discussed why I am heading more towards the (in)decisive moment and working in a domestic environment.
– Included photocopies of my mind maps for both in decisive and (in)decisive moment.
– Written bullet points for each map, covering what I would achieve or find difficult with this particular approach.
– Briefly touched upon my test shoot, including a contact sheet of the images and explored where I’m headed with my final shoot plan.


‘The (in)decisive moment’:

‘The decisive moment is not a dramatic climax but a visual one: the
result is not a story but a picture.’ (Swarkowski, 2007, p.5)

‘You know it’s funny. You come to someplace new, and everything looks
just the same.’(Eddie in Stranger Than Paradise, Dir. Jim Jarmusch, 1984)

Brief

Create a set of between six and ten finished images on the theme of the decisive moment. You
may choose to create imagery that supports the tradition of the ‘decisive moment’ or you may
choose to question or invert the concept by presenting a series of ‘indecisive’ moments. Your
aim isn’t to tell a story, but in order to work naturally as a series there should be a linking theme,
whether it’s a location, event or particular period of time. (Bloomfield, 2018)

Thoughts

Having researched further about both the decisive and (in)decisive moment, test shoots and taking into consideration that we have gone into another lockdown, I am heading more towards the (in)decisive moment, due to the fact street photography doesn’t feel like the safest option currently. The (in)decisive moment will allow me to capture imagery from a domestic environment, without feeling too restricted in terms of where I can go, what I can document, as well as who.

After completing a mind-map for both routes, there are clearer ideas for the (in)decisive one in comparison to the decisive, this, in turn, helps me understand what I am more comfortable with in regards to concepts, subjects, approaches and results.

Fig. 1. Decisive Moment (2020)

Reflection on decisive moment mind map (see Fig. 1).

– Would be out of my comfort zone as street photography isn’t something I do often.
– Would have a variety of people and locations to work with and look out for.
– More opportunities to capture something unique or unexpected.
– It would push me to be more selective and intuitive about my shooting process.
– Could play around with expressions, movement and context surrounding them.
– Decisive moments would allow me to be more patient and aware of my surroundings, subjects, timing etc.
– Perhaps more flexibility regarding the ability to create or capture juxtapositions.
– Wouldn’t be safe to do so currently with the global pandemic.
– Restricted on where I can go, travel or enter.
– May not be as many people around due to the pandemic.

Fig. 2. Indecisive Moment (2020)

Reflection on (in)decisive moment mind map (see Fig. 2).

– I have more control of the composition and what I’m capturing.
– Can remove context if necessary to create questions and tension.
– Would be able to gather together multiple subjects within a safe environment.
– Would link back to my preferred coursework “slow shutter speed”.
– Playing around with the ordinary and bringing focus to the things we are used to is an interesting concept.
– Could play around with empty areas, without breaking covid guidelines.
– Allows me to have multiple chances to get an image I like, rather than missing a moment.
– Maybe not outside of my comfort zone, so would have to figure out a way around it.
– Restricted in terms of unique, unpredictable moments.
– Restricted to my home which in some ways, will reduce the amount of opportunities I may be able to capture.
– Would have to consider what I’m capturing, as I share a home with family.

Fig. 3. Test Sheet (2020)


Following my test shoots where I captured the gradual decay of fruits and flowers (see Fig. 3), I’ve decided to use this idea for my final shoot. Placing an object in isolation to something else would represent our current lockdown situation, without directly shooting images surrounding it. A play on words and subject if you will. Playing around with time, subjects and showing what is invisible, much like the research I did for coursework. I am planning this shoot, have set up a frame as well as time scale I will be shooting these images across, therefore these aren’t spontaneous moments as such as I am in control of them unlike decisive moments. Capturing the mundane indoors, rather than street photography. The removal of context by not having a background involved.

Shoot plan

– Capture the mundane and perishable goods.
– Set up camera up in front of the item to decide the desired frame and adjust the focal length to assure an in focus end result.
– Set up the item and leave it untouched until all images are shot.
– Be aware that camera settings may have to be changed throughout the day depending on light changes.
– Keep out of direct sunlight to avoid harsh light and shadows, as seen in my test shoot.
– Keep shooting at pre-chosen times to document the changes that occur across a set amount of hours or days, before overlapping each picture in Photoshop.
– Explore the idea of invisible time by creating a ‘double exposure’. We know time is passing each minute, but when can’t necessarily see it unless we isolate it. Metaphor for life and death?


References:

Bloomfield, R., 2018. Photography 1: Expressing your Vision. 4th ed. [pdf] Barnsley: OCA, p.74. Available at: https://www.oca-student.com/course/photography-1-expressing-your-vision [Accessed 28 March 2021].

List of images:

Figure. 1. Powell, L. (2020) Decisive Moment [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Figure. 2. Powell, L. (2020) Indecisive Moment [Ballpoint pen on paper] In possession of: Lauren Powell: Eastleigh.

Figure. 3. Powell, L. (2020) Test sheet [scanned document] In possession of: Lauren Powell: Eastleigh.

(In)decisive moment practitioner research

Assignment 3

Summary:

For this post I have;

– Researched the (in)decisive moment and compared it to the decisive moment.

– Summarised the differences and similarities between the two moments.

– Written about Nick Waplington, Martin Dietrich and Nigel Shafran, their lives, careers and approaches to their work.

– Analysed one of each image from each practitioner, exploring the techniques and messages I have gathered from their work.

– Reflected on the research as a whole.

Indecisive moment:

Unlike Henri Cartier-Bresson’s ‘Decisive Moment’, the (in)decisive moment seems to challenge the belief of a singular moment being the most important and unique by exploring the idea that all moments are just as important as the other and no less unique. Even if the moment doesn’t capture the most exciting of moments, as long as it means something and shows a passage of time, it’s still special.

Another difference between the two moments is that the (in)decisive moment tends to remove expression and gesture, by documenting “deadpan” moments, or the banalest of subjects. The lack of clear emotion may cause more questions to arise from the viewer as it may not be as clear as to how the subject is feeling or what is happening. ‘..the works’ bland expressions and lack of visual triggers, such as gesture, confound our expectations of discovering a person’s character through their appearance’ (Cotton, 2014, p. 106). For me, this ability to form questions, makes the imagery more flexible and interesting than a decisive moment, that more often than not, cuts straight to the point in terms of context and meaning. 

While some planning takes place for a decisive moment, for example, setting up the camera in preparation for the perfect moment to fall within the frame at any given point, the photographer doesn’t have much control over the event or outcome of the image. The (in)decisive moment, however, feels like a more hands-on and regimented approach, whether that is through manipulation of movement, poses, expression, location or amount of images taken within a particular time.

Despite these differences, the two moments appear to be interchangeable and overlap in concept, for example, both require some form of planning and awareness of the outcome you’re hoping for, as well as the active decision to press the camera shutter at a specific time rather than spontaneously. Bearing these things in mind, I’m not sure if they can be considered two separate approaches or not?

Nick Waplington – (1965- )

Nick Waplington is a British artist; based between London and New York, mostly known for his contemporary photography practises but not limited to, as a painter, sculptor and has explored the world of video. Boundaries have been pushed and explored throughout his work, shown by the juxtaposition of traditional and new media (1972 Agency, 2020). Waplington’s collaborations with artists such as Alexander McQueen, Miguel Calderón and David Shrigley, further confirm this desire to create and work with those who produce something out of the ordinary. 

The topics documented throughout his work, range from the daily lives of working-class people, youth culture, his family, businesses or organisations expanding globally (1972 Agency, 2020). Subjects like these may seem mundane to some but are without a doubt, impactful once you start to analyse the meaning or feelings Waplington is trying to portray. 

Living Room (1991) is the first project Waplington published as a young man, shortly followed by an exhibition in 23rd Street Gallery, New York and then globally for a few years after. The prints were put into storage and requested to be destroyed, ‘having moved on to new projects’ (Juxtapoz, 2019). However, it was discovered in 2018 that Waplington’s gallerist Holly Solomon never got rid of the prints, were still in possession of her son Thomas and have since been presented by Little Big Man for the first time in 26 years.

Fig. 1. Living Room (1991)

Living Room (1991), is a series of images taken across four years, documenting the daily life of two families who lived on the same council estate as his grandparents in Nottingham. 

It gives us an insight into the lives of people we have no connection with, as well as capturing the struggles and differences that families faced due to industry collapse, unemployment and poverty caused by a decade of a neglectful conservative government (Bint photoBooks, 2016). 

The chaos portrayed (see Fig. 1) encapsulates the historical turmoil going on at the time. A time full of uncertainty and disorganisation, mixed emotions and lack of stability in the area. Waplington’s use of a fast shutter speed has frozen at least eight different moments in time, if not more that we cannot see directly. The child on the right, has a deadpan expression, distracted by something out of the frame, are they talking to somebody? Has someone caught their attention? We aren’t aware of the cause, allowing us as the audience to explore further and try to put the pieces together, using the rest of the picture as context. Midframe, we have someone who seems to be in conversation with another person, again, outside of the frame, but it isn’t clear how they are feeling or whether they are aware of the two children trying to either get their attention or grab the bag that is at an arms reach. The worried face of the child to the left is somewhat humorous. It feels as if they are trying to prevent the curtains from being pulled down or other mischievous events occurring while the adults are distracted by other things. There is a faint orb-like blur to the bottom right of the image, perhaps created by a light source just outside of the frame, smoke from the right, a smudge on the lens, or a small imperfection with the film or printing process. Waplington has shot this image at a very slight angle; whether that is intentional or not, the tilt enhances the mayhem shown in the photograph, ‘imperfect’ and unbalanced, much like daily life. Saturated colours and the grainy nature of film photography, not only shows the difference in photography practises and cameras from just a few decades ago, but makes the images feel much more intimate, soft and nostalgic. They’re not crisp, vibrant pieces that uniquely grab the viewers eye. Instead, the imagery is natural, full of life and movement, but still unique.

Martin Dietrich – (1980’s – )

Martin Dietrich is a Fine Art Photographer based in Frankfurt, Germany, mostly known for his architectural and street photography. Dietrich’s journey with photography started in 2009, as a way to balance his day to day job which is ‘full of numbers’ as a tax auditor (Dietrich, 2016), something that has only continued to grow and help other young artists besides himself with the Neoprime International Fine Arts label, founded in 2014. 

Abstract, minimalism and geometrics within nature, are Dietrich’s main focus areas, continually explored through his architectural and street photography. Exploring the locations in question, inspires him to come up with concepts that may not be suitable for the chosen surroundings, in turn creating abstract compositions that allow multiple and endless paths for the viewer to explore. According to Dietrich, removing a subject out of its usual context can hide the original story or meaning behind the image, therefore creating a whole new picture, whereas minimalist images are straight forward, reduced to one subject or exciting element, a complete juxtaposition to his abstract work (Dietrich, 2016). 

Growing up in a city has meant that urban life is extremely familiar and has fascinated him for years. Street photography documents real moments ‘frozen in time forever and yet offers so many different interpretations, stories and meanings. Street Photography is by no means artificial, it’s the real world, with real characters and real moments’ (Dietrich, 2016).

Dietrich’s double exposures have been created by using slow shutter speeds, in combination with moving the camera to create what he calls an ‘abstract sketch’ (Dietrich, 2016). 

The Ghosts That Carried Us Away (2014), consists of 7 black and white double exposures of various people riding an escalator and climbing the stairs, documenting movement, time and indecisiveness. All double exposures were shot in-camera using a Fujifilm X-Pro 1.

Fig. 2. The Ghosts That Carried Us Away (2014)

This image (see Fig. 2) combines both abstract and minimalism into one complete frame. The lack of expression and context given from the blurred silhouettes in the background, due to their backs facing the camera, formulates a list of questions. Are they a couple? Are they strangers? Are they happy? Angry? In conversation? What are they doing? Where are they going?

Dietrich has perfectly backed up his view of abstract work and how removing part of a subject, can carve out multiple paths for the viewer to go down and explore. Black and white photography, not only enhance the highlights and shadows, the textures and shapes within the frame, but it also removes the influence that colour may have on the picture. It could be a beautiful sunny day, but without the help of colour, for me, this composition documents a gloomy day, in what feels like a silent city. 

By isolating the escalator, a small part of a building and capturing the negative space surrounding them on the left, allows me to understand that the subjects are in an urban location and shows the minimalist elements within the photograph. 

However, the position of the camera in comparison to the people prevents us from seeing anything else beyond that. We could assume they’re on top of a building or walking into a mall, but we cannot be sure without further information, that’s what makes it so interesting. The rule of thirds and leading lines work perfectly together, as the eyes are drawn from the bottom of the frame, right up to the main focal point at the top, taking you on a journey and moving the viewer through the image as an escalator would do. Slow shutter speeds don’t freeze a moment, they follow the moment and capture the path taken during the time the shutter is open, so instead documents multiple ‘invisible’ moments in one frame and is something I would consider to be indecisive.

Nigel Shafran – (1964 – )

Nigel Shafran is a well-known photographer and artist based in the UK, having established himself as one of the most respected fashion photographers in the 1990s (James Hyman Gallery, n.d). Much like Nick Waplington, Shafran is passionate about capturing day-to-day life, the ordinary and overlooked subjects that surround us. Unlike most photographers who have explored the decisive moment and aim to capture the unique, the extraordinary and ‘never to be seen again’ moments in time, Shafran explores the beauty in the mundane and accepting what we have around us.

His work is so casual, so familiar and domestic but still beautiful, full of life and uniqueness.

Washing up (2000) is a series of images taken across an unknown time, capturing the chaos and daily findings of a kitchen. Something all of us can relate to and find comfort in, making this project somewhat personal without it being so.

  • Fig. 3. 001washing_up (2000)
  • Fig. 4. 013washing_up (2000)

The consistent framing between these two images implies that a tripod was used, or some form of stable surface for the camera to sit on to document the changes within this kitchen without having to change location or composition. They are very much the same, yet different. 

001washing_up see Fig. 3) looks to have been taken while the sun was fully out and out of reach of the window, creating a cold atmosphere due to the lack of sunbeams, blue tones and grey shadows within the picture. Tinsel is hanging off of the wires, just above the red teapot, enhancing the fact that this photograph could’ve been taken on a cold winters day. To the right, is a potted plant that seems to be dormant and withering away, the natural circle of life. There is crockery everywhere, in the sink, on the draining board, a knife has been left out on the side and the pots and pans in the top right are screaming indecisiveness and chaos. 

013washing_up (see Fig. 4) is slightly more organised, tidier and warm. In comparison to Fig. 3. this image appears to have been taken during the morning, just as the sun is rising. Shadows in this composition are soft, as is the light on the walls and surfaces, making it feel more homely and welcoming. Despite the differences between the two photographs, the mess, the lack of decision making and the reality of the busy lives we lead, the pictures on the walls are still the same, the blue figurine on the plug socket is still in its usual place, the kettle and rubber gloves are where they belong. 

They may not be the most outstanding photographs taken, but they document life, the changes that we make, the life and death of nature, the rise and fall of the sun. These pictures have captured time and how it evolves, which I think is just as important as capturing one unique moment in time.

Reflection:

– The (in)decisive moment doesn’t have to be something extraordinary or unique and is very much similar to the decisive moment, in terms of planning and setting the camera up to capture the moments.

– The ordinary can be the most beautiful and interesting subjects to capture and explore.

– No one moment is unique and all capture important moments in time.

– The ‘Decisive’ moment is the moment you decide to capture, when and where.

– The (in)decisive moment doesn’t mean you don’t have to prepare and look for fruitful moments.

– The (in)decisive moment captures a period or path of time, rather than one moment.

References:

1972.agency. (2020) Nick Waplington Biography – 1972. [online] Available at: https://1972.agency/artists/nick-waplington/bio (Accessed 2nd February 2021).

Cotton, C. (2014) The Photograph As Contemporary Art. 3rd ed. London: Thames & Hudson.

Bint photoBooks. (2016) Views & Reviews A Tribute to the Family as a wild Tribe Living Room Nick Waplington Photography. [online] Available at: http://bintphotobooks.blogspot.com/2016/05/views-reviews-tribute-to-family-as-wild.html (Accessed 15th February 2021).

Dietrich, M. (2016) From Experimental to Ordinary: LomoAmigo Martin Dietrich Tests the Minitar-1 Art Lens [online] Available at: https://www.lomography.com/magazine/317995-from-experimental-to-ordinary-lomoamigo-martin-dietrich-tests-the-minitar-1-art-lens (Accessed 22nd March 2021).

James Hyman Gallery. n.d. Nigel Shafran [online] Available at: http://www.jameshymangallery.com/artists/14896/biography/nigel-shafran (Accessed 22nd March 2021).

Juxtapoz. (2019) Exhibition unearths Nick Waplington’s long thought destroyed “Living Room” prints. [online] Available: https://www.juxtapoz.com/news/photography/exhibition-unearths-nick-waplington-s-long-thought-destroyed-living-room-prints/ (Accessed 15th February 2021).


List of images

Figure. 1. Waplington. N. (1991) Living Room [image] Available at: https://loeildelaphotographie.com/en/nick-waplington-living-room-bb/ (Accessed on 15th February 2021).

Figure. 2. Dietrich. M. (2014) The Ghosts That Carried Us Away [image] Available at: https://www.behance.net/gallery/14029499/The-ghosts-that-carried-us-away (Accessed on 22nd March 2021).

Figure. 3. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/page/2/ (Accessed 22nd March 2021).

Figure. 4. Shafran. N. (2000) Washing up [image] Available at: http://nigelshafran.com/category/washing-up-2000-2000/ (Accessed 22nd March 2021).