I’ve probably been to the coast more times in the last six weeks since I moved to Malton than I have for the last six months. It’s so much more accessible; there’s so many fantastic beaches and coves to explore and swim in; and I’ve been spurred on my the impending assignment deadline for my Photography MA to show a work in progress portfolio on my project The Strandline.
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At last the northerner moves back north (not quite all the way but to Yorkshire at least!).
After 20 years living in London, over a decade of them coming home to the same front door, it wasn’t easy to leave. London has given me a husband and a family; the most amazing and deep friendships; travels and an exciting career ‘In the Thick of It’; lots of gin and laughter; and very many hair styles and colours.
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May saw our first family camper van trip of the year! We normally head out around February but of course this year we were in lockdown and it hasn’t been possible to go to campsites until recently. So we packed ourselves off and of course we headed to the sea! This may be our last trip to the sea in the southern part of the UK for a while as the move north nears closer…
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Exploring vistas out to sea around the British Isles and man’s place in the landscape, ‘Visibility. Moderate.Rising Slowly’ showcases the seascape as a part of the British psyche.
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Responding to the task of creating a book in the style of photographer Ed Ruscha, I decided to physically make a small photo book on the theme of the scene to add to my ongoing project researching the strandline.
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With the first steps of lockdown easing over the Easter holidays, and our house newly sold (again: fingers crossed it doesn’t fall through again!), the whisperings of a life in Yorkshire called again and we hopped in the car to head north for a few days in Whitby and a spot of house hunting.
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How the photograph relates to reality and social perceptions of the truth portrayed in a photograph is a complex relationship. There is certainly often a perception that a photograph shows reality – ‘the camera never lies’. Paradoxically in today’s world we have never been more aware of the potential for photo manipulation and doctoring which bears little relation to reality. Filters and photo manipulation are literally available at our finger tips in our phone apps and software to change an image immediately after it has been taken – to enhance the landscape before us, to present ‘our best selves’, to represent a completely alternate vision.
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The question of power balance is more at the forefront of my mind now than it would have been at the start of my practice. Starting out as a photojournalist the balance probably lay mostly with the audience in that the newspaper needed certain types of images and press photographers and photojournalists are generally trained to seek out those images, and in some circumstances manipulate scenarios for the purpose of illustrating a story.
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Nature – our traditional interpretation and associations of the term – features quite frequently in my work from my Time and Place mini-project exploring the ‘nature’ and identity of a place to my current larger project looking at the sea.
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