1. Blog

19th June 

Rush Hour and St Martin-in-the-Fields 

Rush Hour
New Eltham Station
19th June 2018, 7:53
Fuji X-M1, 16-50mm @ 50mm (75mm)
1/350 sec; f/5.6; ISO 400

The rush hour shots worked quite well. I will try the exercise again with a longer lens to foreshorten the view. I had intended to photograph from the footbridge seen in the shots but that is impossible because of the “windows”. The first image gives a better sense of the crowd (and also the emptiness of the only other platform showing the one-way traffic at this time of the morning), but I like the moving train and the more detailed view of the individuals within the crowd in images two and three.

I had envisaged an interior shot of the window and will probably go with that. It might need a crop. There was a rehearsal for the lunchtime concert at the time the photographs were taken and that might be incorporated. I had forgotten just how powerful and simple the window is, suggesting just through distorted lines the cross and Jesus’s head on one side as often depicted.

The journey to town did not suggest much more in the way of subjects, though there are some tenement blocks that might contrast with Lewisham’s newbuilds.

Rush Hour 1
Rush Hour #1 and St Martins East Window, images taken 19th June

20th June 

St Martin-in-the-Fields 

East Window, 
St Martin-in-the-Fields
19th June 2018, 11:39
Fuji X-M1, 16-50mm @ 33mm (49mm)
1/30 sec; f/5.6; ISO 640

I like the addition interest and complexity of the rehearsal. That naturally first takes attention and then focus shifts to the unusual window.


23rd June 

Tower Bridge

Tower Bridge
23rd June 2018, Time
Fuji X-M1, 16-50mm @ 16mm (25mm)
1/400 sec; f/5; ISO 1600

Passing through London Bridge today and over Tower Bridge. Saturday, sunny and very busy, I tried to capture both the architecture the mood of the tourists. The sample images processed so far, comprise:
a panorama including the City, the Tower of London and Tower Bridge;
tourists photographing the bridge as it opens:
two versions of tourists posing for selfies:
Tower Bridge and the Mayoral HQ (the notional target for the day) and a second version trying for the artificial colours (though not the proportions) of a 1960s postcard because the configuration of tourists on the artificial grass is reminiscent of that era. 

Tower Bridge
Tower Hill, images taken 23rd June

25th June 

Rush Hour 2 & South Bank

Rush Hour
New Eltham
25th June 2018, 7:41
Panasonic GX7, Zuiko 40-150 @ 78mm (156mm)
1/500 sec; f/8; ISO 200

A repeat visit to the station but the results were no better – that’s not a great problem because I was reasonably pleased with the first set. I had hoped for a shot with greater clarity on the waiting passengers and more blurred train but did not achieve it.
[26th – Having had the chance to process the images, they are a little better, although the softer lighting for the earlier shots was preferrable.]

Rush Hour 2
Rush Hour #2, 25th June
National Theatre 
South Bank
25th June 2018, 13:40
Fuji X-M1, 16-50 @ 21mm (32mm)
1/640 sec; f/7.1; ISO 400

On the South Bank, I started with the Hayward Gallery, as that is the building seen most clearly from the train, but the most gloriously grotesque building is the National Theatre behind it. There is a raised main road between the two with the dome of St Paul’s in the distance and I spent some time trying to get a blurred red bus passing out of shot (developing something of a leitmotif for the project) but there is just too much traffic to get a clean shot and I gave up. Incidentally, for future reference, the shutter speeds for the two bus images shown are 1/50th and 1/40th. The two train images are both at 1/50th.

On the way back to the station afterwards, I passed the skatebord area under Festival Hall that makes such a refreshing contrast with the austere, grey buildings above and took the shots for what will hopefully stitch into a panorama. The lighting confused the iPhone in panorama format and so the main image is a stitch fron six Fuji shots. The iPhone panorama is shown below as it includes a delightful artifact of one of the boarders that brings to mind Duchamp’s Nude Descending a Staircase.

Lighting was difficult throughout the day, very harsh resulting in an excessive dynamic range. I reverted to my usual practice of bracketing the exposures.

p.s. There was an absorbing exhibition combining the work of Ansel Adams and William Eggleston at the Hayward in 2002: I am inclining towards the latter. Here’s a Guardian reveiw.

South Bank
South Bank, 25th June 

29th June 

Kidbrooke and Lewishan

Lewisham
29th June 2018, 10:32
Fuji X-M1, 16-50mm @ 28mm (42mm)
1/850 sec; f/5.6; ISO 200

I was disappointed that I could not convey more of the “story” of Kidbrooke with a single image. The photograph of the building in progress dominating the railway platform will have to do for now. 
[1Jul] Another idea, get a shot of a Kidbrooke Village sign with the building site and highrise behind it. That might be sufficiently ironic to make my point.

One of the Lewisham snaps will be ok with a bit of work, probably the second below (taken from the top of the shopping centre car park). 
[2Jul] If I get to return, I could try getting to the street of houses on the left of the image and get an angle on the last few houses in the row with the highrise looking over them.

Kidbrooke
Kidbrooke and Lewisham, 29th June

13Jul18 

Return to Kidbrooke and Lewisham

Kidbrooke Village
13th July 2018, 11:41
Panasonic GX7, Olympus 14-42 @ 14mm (28mm)
1/200 sec; f/11; ISO 200

First to the park next to Eltham station with the intention of photographing Canary Wharf which is obscured by trees from the station itself (se first image below). Regrettably, there is no line of sight from the park either and so Plan B to snap them from Blackheath is now operative.

Then to Kidbrooke “Village” seeking the ironic juxtaposition of that title and the building site surrounding the station. My conception of shooting from the opposite platform did not work (insufficient empasis on the sign which is partially obscured by a lamppost) but a 4-shot stitch panorama with the station sign in the forground is successful.

At Lewisham, I had noticed what looked like a row of houses in the shadow of the largest apartment block (see above). When I got there, I found it to be a school, which reduced the conceptual impact, but there are some worthwhile shots.

On then to London and Parliament Square in the hope of getting a shot of the Trump balloon (for posterity, not for this assignment), but it had been taken down and I was not prepared to wait for its return.

Overall, not a wasted day – the results are better in processing than I thought when taking the shots.

Eltham Station
Kidbrooke and Lewisham, 13th July

15Jul18 

Canary Wharf

Canary Wharf from Greenwich Park
15th July 2018, 13:09
Panasonic GX7, Olympus 40-150 @ 45mm (90mm)
1/2500 sec; f/7.1; ISO 200

The final shot is of Canary Wharf from Blackheath, or more accurately, Greenwich Park. This was taken on the hottest day of the year from quite a distance and the detail is softened by the heat haze and pollution. The choice is between a tight crop on the towers or a wider view to include the contrast with the classical buildings of Greenwich U. campus and park visitors.

See Blog 20th July for Grauniad Plagiarism Shock Horror.

Canary Wharf
Canary Wharf from Greenwich Park, 15th July 

15Jul18 

Panel V1.0

Late on Sunday night, the first draft of a panel. The images are in the sequence experienced on the journey – New Eltham Station, Kidbrook, Canary Wharf seen from Blackheath, Lewisham, Tower Bridge, South Bank, St Martin in the Fields.

New Eltham
Rough cut of the panel

16Jul18 

Panel V1.0 processing notes

Notes on the processing which has been applied. As part of my attempt to rationalise my workflow, I have copied the panel and the source images to a separate directory and will document and reconsider the processing that has been applied.

1. New Eltham station: original image DSCF7742.JPG, Fuji X-M1
This has just been straightened (using the footbridge as a horizontal reference), cropped to remove the blank corners (a content-aware fill was unhelpful) and my usual Nik filters applied, namely Detail extractor, Film Efex Portra and Border Type 4. New version saved as BAPh_SqM_img01B.jpg.

2. Kidbrooke: original images for vertical panorama stitch, P1200929-32.JPG Panasonic GX7
I have tried to replicate this using Photoshop CS6 > Automate > Photomerge, but the output has not been as good as the earlier version. I have therefore proceeded with yesterday’s stitch. The left side has been cropped to de-emphasise the stitch artifacts on the blue railing, the imaged lightened slightly with a Curves adjustment and a Nik Border added. Image produced, BAPh_SqM_img02B.jpg.

3. Canary Wharf from Blackheath: original image P1210007.JPG Panasonic GX7
Image cropped left for a neater end to the buildings in the middle- and background. The standard Nik recipe has been applied to lighten the image: Detail, Chrome, Border. In selecting which image to use, this seems the most appropriate as it illustrates the distance from the viewpoint to the Canary Wharf towers. Image produced BAPh_SqM_img03B.jpg.

4. Lewisham: original image DSCF8386.JPG Fuji X-M1
The image from the original visit on 29th June is preferred to those of 13th July, concentrating solely on the apartment blocks. The image has been cropped right but the school on the left (originally thought to houses) has been left in to emphasise the scale of the apartments. Straightening has been applied using the central, largest building as a reference. A border has been added, but no other Nik filters were needed. Image produced BAPh_SqM_img04B.jpg.

5. Tower Bridge and City Hall: original imagesfor horizontal panorama stitch, DSCF8035,6,9.JPG Fuji X-M1
The original processing on this on 23rd June might have been excessive. The stitch was necessary to cover the bridge and city hall and the image was straightened to level the bridge, but then the excitement of the Nik cross-processing filter took hold. Much as I enjoy the result, this has now been rolled back to an earlier version and just a border added. Image BAPh_SqM_img05B.jpg.

6. South Bank
The choice of image is still under consideration. It is likely to be the National Theatre, but there is a choice on foreground detail, see below. 
On balance, I think the choice comes down to A or B. The statue of Olivier in C adds to the image but it is cluttered by the vertical banner. Option D joses the banner but there is too much foreground detail. 
The bench in the foreground leads the viewer into the image and in B it is better directed towards the theatre, so the choice remains B. The processing is (on original image DSCF8107.JPG) straightening (reference on the sign) and a border.

7. St Martin in the Fields
The dynamic range meant that bracketed exposures were needed but the image shown has again been over-processed. The image has been redone as a plain HDR in Nik with just a border added. Image BAPh_SqM_img07B.jpg.

National Theatre options A-D

16Jul18 

Panel V2.0

All the chosen images have been reporocessed, in some cases severely reducing the previous “overprocessing”. I am inclined to change the first image (removing the distracting grey area on the far right) and the last (I have drained it of too much colour). And is the National Theatre straight?

text
Panel V2.0

17Jul18 

Panel V2.1

The three corrections suggested above have been made – right crop on the first, restrightrn #6 and a little more colour and lightening in the last.

text
Panel V2.1

Text development


Final submission text: V2.1, 17th July 2018 

Word count = 497 including headings 

First Thoughts

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, though I may have changed my mind while working on the assignment. 

I have lived in Eltham, a south east London commuter town, for most of the last thirty years. Apart from the clichéd contrast between the medieval splendour of Eltham Palace and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter’s jouney from Eltham to London Charing Cross.

Inspiration & Development

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos that I had rather set my mind against . The “commuter town” concept was already in place when I recalled an article in an RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. 

Technical approach

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] I normally post-process images significantly and that goes against the assignment instructions [3]

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera in order to reduce the size of the contact sheets. 

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on the web site [4]

Strengths and weaknesses

As noted in the blog [5], I mostly photograph sculpture and street art in a gallery or town: these projects are self-limiting and impose their own structure. I am not used to conceptualising a display. On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

Daidõ Moriyama has stated, “As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.” [6]

When next in Wales, I will photograph my Filltir Sgwar, likely to comprise: 
(i and ii) my family home (recently sold) and my grandmother’s house ; 
(iii) my infants and junior school (demolished several years ago and a vacant building plot last time I saw it); 
(iv and v) the junor and senior high schools (grammar schools were abolished the year I first attended); 
(vi) the church where I was taken more often than I liked until a youthful rebellion. 

I have an idea for a local project (although this could be undertaken equally well in any suburban environment): Eltham churches and congregations – photographed when leaving after Sunday morning services.

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio—Robert-Friel-ARPS [accessed 16th July 2018]. 
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018]. 
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley. 
[4] Assignment 1, Square Mile – images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018]. 
[6] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan. 


Final submission text: V2.0 17th July 2018 

V.1 word count = 776 – 276 to lose, i.e 36%
V.2 first pass = 525 plus headings
V.2 second pass = 499 including headings 

First Thoughts

word count V.1 = 155, V.2 = 118

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, though I may have changed my mind while working on the assignment. 

I have lived in Eltham, south east London commuter town, for most of the last thirty years. Apart from the clichéd contrast between the medieval splendour of Eltham Palace and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter’s jouney from Eltham to London Charing Cross.

Inspiration & Development

word count V.1 = 79, V.2 = 58

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that. The “commuter town” concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. 

Technical approach

word count V.1 = 164, V.2 = 87

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] I normally post-process images significantly and that goes against the assignment instructions [3]

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera in order to reduce the size of the contact sheets. 

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on the web site [4]

Strengths and weaknesses

word count V.1 = 128, V.2 = 61

As noted in the blog [5], I mostly photograph sculpture and street art in a gallery or town: these projects are self-limiting and impose their own structure. I am not used to conceptualising a display. On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

word count V.1 = 239, V.2 = 201, second pass = 176, third pass = 164

Daidõ Moriyama has stated, “As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.” [6]

When next in Wales, I will photograph my Filltir Sgwar, likely to comprise: 
(i and ii) my family home (recently sold) and my grandmother’s house ; 
(iii) my infants and junior school (demolished several years ago and a vacant building plot last time I saw it); 
(iv and v) the junor and senior high schools (grammar schools were abolished the year I first attended); 
(vi) the church where I was taken more often than I liked until a youthful rebellion. 

I have an idea for a local project: Eltham churches and congregations – photographed when leaving at the end of Sunday morning services. (This could be undertaken equally well in any suburban environment. )

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio—Robert-Friel-ARPS [accessed 16th July 2018]. 
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018]. 
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley. 
[4] Assignment 1, Square Mile – images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018]. 
[6] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan. 


Final submission text: V1.0 17th July 2018 – word count 776

First Thoughts

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, when first thinking about this assignment. I may have changed my mind while working on it. 

I have lived in Eltham, south east London, for most of the last thirty years. Although the location of a medieval settlement, it was developed in the Victorian era, with the coming of the railways, as a commuter town, and so it remains. 

Apart from the clichéd contrast between the medieval and art deco splendour of Eltham Palace (now £15 to visit) and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter’s jouney from Eltham to London Charing Cross.

Inspiration & Development

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that at the outset. The “commuter town” concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. Although not inclined towards the impressionistic images used by Friel, that example gave some legitimacy to the idea.

Technical approach

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] “instructions for Assg1 include ‘keep to basic image corrections (at least for assignment work), without significantly changing the image as seen through the camera viewfinder’ [3]. This is something of an issue as my default is to bracket exposures, HDR where useful, straighten and crop most shots and add a frame to the final version. I’ll turn off the bracketing, but I’ll stick with frames unless told not to.”

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera (a process I find very hard to do) in order to reduce the size of the contact sheets. 

I am not convinced that either of these changes are for the better.

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on my web site [4]

Strengths and weaknesses

As noted in the blog [5], “I am not used to constructing a connected series of images. With previous sculpture projects, the narrative and scope are implicit in the venue, such as a gallery, a town or a walk. They are self-limiting and impose their own structure.
There is also the aesthetic aspect of combining sets of images which I have never been required to do in the past. RPS distinction board reviews never fail to mention the “hanging plan”, to take examples from the current issue: ‘[the] layout of the portfolio was well balanced’; ‘[the] panelling is well thought through’.” [6]
On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

The Japanese photographer Daidõ Moriyama has stated, “As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.” [7]

When next in Wales for a funeral, I will photograph my Filltir Sgwar and it is likely to comprise: (i) the house where I was born and raised (recently sold); (ii) my grandmother’s house where I spent some of my childhood and lived for a while in my 20s; (iii) my infants and junior school, demolished several years ago and a vacant building plot last time I saw it; (iv and v) the junor and senior high schools where I witnessed the abolition of grammar schools in Wales in the 1960s; (vi) the church where I was taken more often than I liked until a youthful rebellion. 

I have had an idea for a local project too: Eltham churches and congregations – photographed when leaving at the end of Sunday morning services. This does not evidence and local affinity as it could be undertaken equally well in any suburban environmemt. I am undecided whether to just turn up and risk a suspicious reaction or write to the churches to alert them of my intention (and also find out what time services are likely to end.

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio—Robert-Friel-ARPS [accessed 16th July 2018]. 
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018]. 
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley. 
[4] Assignment 1, Square Mile – images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018]. 
[6] RPS Journal July 2018 pp. 479, 482.
[7] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan. 


Drafts

I had expected to tinker with the text throughout this assignment, while working on the images. In reality, I toyed with the introduction and conclusion but have left the remaining components until the end.

First thoughts – Development – Inspiration – Technical approach – Strengths and weaknesses – Continuation

First thoughts

V3 16Jul18

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, when first thinking about this assignment. I may have changed my mind while working on it.

V2 30Jun18

Although Welsh by birth, my visits to the Pricipality are occasional, mostly ceremonial and and those largely funereal: I am not susceptible to Square Mile Syndrome. too pompous.

1st draft 24Jun18

I was immediately uneasy with the idea of Y Filltir SgwarThe Square Mile. Welsh by birth, I have avoided the Principality whenever possible for more than thirty years. Had the notion been, say, French, Les Hectares Carré, I would not have had this subjective issue, but there would still be a problem with the objective. too negative.

I have lived in Eltham, south east London, for most of the last thirty years. Although the location of a medieval settlement, it was developed in the Victorian era, with the coming of the railways, as a commuter town, and so it remains. 

Apart from the clichéd contrast between the medieval and art deco splendour of Eltham Palace (now £15 to visit) and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter’s jouney from Eltham to London Charing Cross.

Inspiration & Development

V1 16Jul

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that at the outset. The “commuter town” concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. Although not inclined towards the impressionistic images used in that case, hat example gave some legitimacy to the idea.

Technical approach

V1 16Jul

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] “instructions for Assg1 include ‘keep to basic image corrections (at least for assignment work), without significantly changing the image as seen through the camera viewfinder’ [p.13]. This is something of an issue as my default is to bracket exposures, HDR where useful, straighten and crop most shots and add a frame to the final version. I’ll turn off the bracketing, but I’ll stick with frames unless told not to.”
The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera (a process I find very hard to do) in order to reduce the size of the contact sheets. 
I am not convinced that either of these changes are for the better.
The general technical approach for the various outings undertaken and applied to particular images and explored in some detail on my web site [3].

Strengths and weaknesses

V1 16Jul

As noted in the blog [4], “I am not used to constructing a connected series of images. With previous sculpture projects, the narrative and scope are implicit in the venue, such as a gallery, a town or a walk. They are self-limiting and impose their own structure.
There is also the aesthetic aspect of combining sets of images which I have never been required to do in the past. RPS distinction board reviews never fail to mention the “hanging plan”, to take examples from the current issue: ‘[the] layout of the portfolio was well balanced’; ‘[the] panelling is well thought through’.” [5]
On an individual basis I consider the images to be adequate and some (Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

V1 30Jun18

[written at the same time as V2 of the first thoughts]
The Japanese photographer Daidõ Moriyama has stated, “As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.” [6]
When next in Wales for a funeral, I will photograph my Filltir Sgwar and it is likely to comprise: (i) the house where I was born and raised (recently sold); (ii) my grandmother’s house where I spent some of my childhood and lived for a while in my 20s; (iii) my infants and junior school, demolished several years ago and a vacant building plot last time I saw it; (iv and v) the junor and senior high schools where I witnessed the abolition of grammar schools in Wales in the 1960s; (vi) the church where I was taken more often than I liked until a youthful rebellion.

see blog 14Jul on church congregations

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio—Robert-Friel-ARPS [accessed 16th July 2018]. 
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018]. 
[3] Assignment 1, Square Mile – images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[4] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018]. 
[5] RPS Journal July 2018 pp. 479, 482.
[6] Record No. 38 [2018], Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan.