3. Photo Essay Development

PHOTO ESSAY: PLANNING, DEVELOPMENT AND EXECUTION

1. INITIAL MIND-MAPS AND IDEAS

After reading the brief I had numerous ideas as to what I could photograph, relation to both the representations of people and locations. I jotted down three main ideas - brutalist architecture in general, St George's Walk in Croydon, and tourism in Brighton. I planned to mind-map all the ideas that came to mind for each of the concepts, then choose whichever one I had the most inspiration for.

I eventually didn't look into the idea of capturing tourism in Brighton: this would have been a vernacular style essay, but it isn't the right season for tourism so there would not be as many opportunities to shoot.

Below is my first mind-map of ideas relating to Brutalist architecture. I only recently became aware and appreciative of brutalism, so was interested in exploring it further.

I had numerous ideas about iconic brutalist locations, but besides the idea of capturing the architecture I struggled to create a narrative that could tie the locations together. I also wanted to develop a more original photo essay; simply documenting brutalist buildings is quite a 'trend' at the moment, with a recent resurgence of appreciation for the style. I therefore developed more on my third idea, which combines one particular brutalist location with a more unique representation:

St George's Walk is a shopping mall in Croydon, South London. I grew up in Croydon but only became aware of the unique history and community in St George's Walk this year.

Though this does not seem particularly interesting at first, I am fascinated by its growth and decay over time. It used to be the thriving heart of the town, especially with the Nestle office building situated at the front of the mall. Since Nestle relocated a few years ago, the area has fallen into decay: local businesses have struggled to stay open, and most locals see the place as a 'no go' area with crime and drugs. The property is currently owned by a foreign investor and its future is uncertain.

There is currently such a negative public image of the area - yet simultaneously, along the corridor of shops, there is a booming arts scene. RISEGallery, known internationally for their Banksy and Warhol collections, is nestled between the dismal looking shopfronts. They developed an "Arts Quarter" license, enabling local and international artists to legally produce street art around the mall. It's hard to walk through St George's Walk without spotting new artwork - which is becoming increasingly political. RISEGallery have spearheaded the artistic development of the area, and the 'scene' is a truly astounding network of creative individuals who you'd never expect to be situated in the 'no go' zone of Croydon. Following the growth of the arts community, Croydon has been classed as an 'up and coming' area, nicknamed the "Cronx."

During the summer, I exhibited my photography at the Croydon Clocktower, which is just next door to St George's Walk. My time there opened me up to this local arts scene, and thus I would love to expand my knowledge of it further by documenting the community, perhaps through portraits.

Furthermore, the actual buildings that comprise the mall are fantastic. They are everything people hate about Croydon. Harsh brutalist office blocks, the towering abandoned Nestle office, and a dismal stretch of mall shops. I love them! The buildings truly lend themselves to creative ventures, with so many strong lines and interesting backdrops. Furthermore, the constant cycle of street art means that the mall's appearance is constantly changing. I would also like to consider a documentary-style approach to my photo essay: capturing the location and its paradoxical present state. It is simultaneously a thriving arts scene and an area of decaying business. Beautiful murals sit alongside closing down shops and eerie alleys.

3. ELEVATOR PITCH SLIDES

When I delivered my elevator pitch, I was still deciding between two concepts, based in the same location: a portraiture-based essay, or a documentary-style one. The test shot represents the latter idea.

CLASS FEEDBACK: The main feedback from peers in my group was that I had good ideas about architecture and the people I could photograph, and had knowledge of the history. However my ideas were very broad so needed refining - I needed to decided on one of the two outlined routes, and refine who I will be photographing (probably people on the arts scene).

2. SUPPORTING RESEARCH

CONDENSED READING NOTES - MODULE READING
[The references below are not from every set reading, but only the ones I could directly relate to my own work upon reviewing my notes]

“Photographs furnish evidence […] seems proven when we’re shown a photograph”

-        Susan Sontag, On Photography

“Far from being a ‘mirror,’ the photograph is one of the most complex and most problematic forms of representation”

Active action of taking a photograph

“The photographer imposes […] recreates the scene according to a cultural discourse”

Every perspective has a bias, a literal framing

“What images show us is not so much a history as an ideology”

-        Graham Clarke, The Photograph – How do we read a photograph?

“We are always looking at the relation between the thing and ourselves”

“Interest in art is related to privileged education”

-        John Berger, Ways of Seeing

Actant positions – producer/editor/historian/subject – can all “participate individually in shaping the truth-discourse of the photograph”

Proliferation of photography has “created a new form of encounter […] thus opening new possibilities of political action and forming new conditions for its validity”

“What capitalism dislikes about the photographic document is precisely this uncontrollable volatility of the photograph” – can be “reframed by others to defame and embarrass the state, particularly in a world now dominated by instant image transition”

-        John Roberts, Photography and its Actants

“Representation means using language to say something meaningful about, or to represent, the world meaningfully, to other people”

Three approaches to representation: reflective, intentional, constructionist; semiotic (Saussure) & discursive (Foucault)

Anything which functions as a sign (e.g. a word, sound, image or object) is a language

“There is no absolute or final fixing of meaning”

Constructionist – constructing meaning through representation

“Interpretation is sustained” through encoding (producer) and decoding (audience)

-        Stuart Hall, The Work of Representation

-        “Focus is identified as a class position, a position of ease and privilege, while being out of focus lowers one’s value as an image”

“The poor image is about defiance and appropriation just as it is about conformism and exploitation. In short: it is about reality.”

-        Hito Steyerl, In Defense of the Poor Image

CONDENSED READING NOTES - FURTHER READING

Hatherley, O. (2017) 'Street in the Sky', Loose Associations, Vol. 3: 1, pp 46-51.

- Essay on Sheffield's Park Hill housing complex, accompanied by photography by Mayne that captures the "social success" of the architecture

- Grade II listed building for its "national and international significance"

- "residents were cleared out" to make way for private redevelopment that prioritised profit over social sustainability. This certainly reminded me of St George's Walk, the location I am shooting in, as it is owned by a private company that is only interested in generating profit through redevelopment; they are not interested in St George's Walk's history

- Ownership by Urban Splash: focus on the "creative class" - again similar to St George's Walk, as this area is traditionally very working class but is becoming overrun by creative and artistic activity, at the risk of gentrifying the entire area

- "an emblem of socialist modernism;" "aesthetics were deliberately secondary"

- Commentary on Mayne's vernacular photography; if someone were to photograph "actually existing working class children and teenagers" in these buildings today, it would be seen as "threatening and sinister" rather than evoking community. 
This is an incredibly interesting point; stigma around the portrayal of working class people. If I weren't photographing the arts scene of Croydon, it would have been interesting to focus on the working class of the area (though there would certainly be more limitations in photographing these subjects). However it's interesting to consider why most of my subject won't be working class - the people I have in mind are of the aforementioned "creative class" - so my photo essay will perhaps touch on ideas of gentrification and art washing



To develop my background knowledge on brutalist architecture I also read some of Grindod's work. Originally from Croydon, Grindod writes on brutalism, how it was birthed through post-war optimism, and its decay in contemporary society.

Grindod, J. (2013) Concretopia. London: Old Street.

- Grindod first wrote this book due after suddenly seeing Croydon, the place he grew up in, within "a wider context". My thoughts and opinion certainly coincide with this writer as I grew up nearby, but since I began my research into St George's Walk, I have gained a new perspective on it. 

- Grindod also writers about Park Hill, the city in the sky, as being a place stuck "mid-transformation" much like Croydon.

- The writer describes St George's Walk as a place that "buckled under the competition, [from new developments on the Whitgift Centre] becoming a desolate wind tunnel."

- "The Croydon Corporation Act was an expression of pure capitalism, designed to encourage the rigorous commercial exploitation of land that was currently occupied by inconvenient schools and houses"

- "In the spring of 1973 the council reduced projected expenditure on health, education and social services, while allocating a further £500,000 to the construction of a sixth car park" - irony, disparity; highlighting the social issues that continue to persist in Croydon today, reproducing modern decay and inequality

- Touches on the Croydon Riots and how this negatively influenced public perception of the town. Today, RISEGallery are attempting to combat the stigma that has been associated with Croydon through their arts quarter development programmes - though the success off this is debatable. 

Grindod, J. (2018) How to Love Brutalism. London: Pavilion Books.

- "Brutalism's resurgence has coincided with the emergence of both the smartphone camera [...] and social media [...] broken a taboo around appreciating and photographing raw concrete buildings" (Grindod, 2018: 9)

- Le Corbusier - famed brutalist architect - Unite d'Habitacion - "a whole vertical city" 

- Grindod explores why people are attracted to brutalism; "brutalists rubbed alongside the 'angry young men' - women - of post-war literature and drama; their social realist filmmaker cousins; the visual movements of outsider art [...] the uncompromising nature of their expression" (Grindod, 2018: 23) 
The writer outlines the way in which the world of art, and brutalism, is intrinsically linked in modern history - despite the assumption that brutalism is unsightly. Given that the two things are so linked, I think it is fitting to photograph the local creatives that love, live and work in these buildings.

- "brutalism can be both ethic and aesthetic" (Grindod, 2018: 25); it can be appreciated at a form of art in itself. The architectural style has become popular with contemporary photographers to use as backdrops for portraiture - it sets a certain tone and acts as an indicator for an urban context.

- "Some cities are stuffed full of brutalist buildings, created in the white heat of that post-war moment" (Grindod, 2018: 51) - Grindod's descriptions certainly echo Croydon, my project location. The areas I will be photographing in are crowded with sixties architecture, which today creates polarising public opinions.

- Grindod also devotes part of his book to discussing the global decay of brutalist areas. He describes a "landscape of modern catastrophe" where buildings have "fallen into disrepair or have been utterly abandoned" (2018: 119). I couldn't help but imagine St George's Walk whilst reading. For years, since the economic collapse of the area, it has become an undesirable place to live and work. The buildings stand monolithic against a skyline of new and improved buildings; a constant reminder of failed business developments. I would like to suggest this in my images, perhaps contrasting the vibrant diversity of creatives that work there with the 'dull' backdrop of these buildings, because at first glance the buildings seem lifeless.

- The writer also discusses the pressing issue of how this architecture is occupied today, claiming that "this appropriation of post-war architecture has helped fuel the gentrification of formerly working-class districts" (Grindod, 2018: 138). He writes that these areas, as a result of gentrification, are being either "reclad, neglected or demolished."
This is certainly true of Croydon, where St George's Walk has been neglected by the council whilst other areas are gentrified and developed. For example, just at the end of the road, building is beginning for a new Westfield centre and luxury apartments to attract wealthier inhabitants.
The idea of "art-washing" has also become topical around St George's Walk. With the presence of RISEGallery in the mall, the area has seen urban art festivals and countless street art submissions. St George's Walk has become the "arts quarter" of Croydon, attracting famous artists and creatives. However, simultaneously, local businesses are failing / footfall is down / crime is rising. As a resident near Croydon, I have noted a growing discontentment within the original residents of the town: who feel that their local businesses are being ignored whilst middle class art critics sweep the town for its street art.

https://www.artspace.com/magazine/art_101/in_depth/art-gentrification-what-is-artwashing-and-what-are-galleries-doing-to-resist-it-55124

- Article outlining how gentrification is 'art-washed'; uses example of how increasing levels of galleries/arts spaces in an area has a knock-on effect on rent prices, "putting the lives and livelihoods of long-term residents at risk."

https://www.croydonadvertiser.co.uk/news/croydon-news/mps-bid-stop-croydon-being-966795

- article on MP's view about how Croydon is becoming gentrified

MOOD BOARD

Created on Pinterest, to visualise and add to my inspiration throughout all stages of the photo essay development.

4. TEST SHOOT

On a weekend spent in London, I conducted a test shoot to visualise my ideas about composition, using my brother as a model. The test shoot was rather unplanned as I preferred to location scout by simply wandering around the location, in the hopes of spotting new places I hadn't noticed before.

During the test shoot I aimed to photograph some more documentary style images of the area, as per one of my elevator pitch ideas - but I found myself photographing portraits more than anything. I think this is because the location lends itself so well to creative portrait compositions. My test shoot therefore helped me to refine my ideas, and decide ultimately on creating a portrait series.

4a. LOCATION ISSUES

The test shoot was successful and gave me lots of ideas about composition - but unfortunately I came across a huge issue that would affect my whole final project. 

Upon arriving at the location, I noticed demolition signs across the entirety of St George's Walk - echoing the tales forewarned in Grindod's writing on brutalism.

There had been discussion about the redevelopment of the area for years, but with no actual action. There hadn't been any huge public announcements about the sudden demolition so I couldn't have known.

The controversial history, and current arts scene, of St George's Walk was what inspired my entire project. It personally upsetting to see - I grew up here, and became involved in the scene here this year - but also was a major impact on my shoot concept. 

My proposal was to photograph the people who work and create art in this area, by framing them within iconic features of the mall's architecture. The buildings have such a great potential for this, exemplified by my test shots; so many recognisably brutalist backdrops and leading lines which can be used to construct meaning.

4b. DEVELOPING A NEW SHOOT PLAN

One of my participants, who works for St George's Walk's art gallery, informed me that half of the mall would be open on the day I planned to shoot. Though most areas would be sealed off, and the area would be full of demolition workers, I still wanted to try my best to incorporate this location within as many of my portraits as possible. 

The location was integral to my concept as it provides a context for my images. I wanted to capture the creatives of Croydon within this space, no matter what.

As such, my shoot plan became quite an emotional and personal thing - for both myself and the participants. It felt as though we were creating a final snapshot of the area's unique character, before it is gone forever, redeveloped into gentrified "luxury flats" as is the trend today. As well as simply documenting creatives in their local area - I was to be creating a snapshot of life in the "Cronx" before it is reshaped by the demolition. 

The parts of St George's Walk that will be closed off contains most of the backdrops I was interested in from my test shoot - such as the canopies that can create dynamic leading lines in a portrait. As a back-up plan, if I cannot source enough locations in the specific mall, I plan to use similarly quintessential brutalist buildings nearby as backdrops. For instance, there is "No.1 Croydon" (originally the NLA tower, and nicknamed the "50p building")

5. PORTRAIT MODELS

When I held my aforementioned exhibition during the summer, I dropped some leaflets off in RISEGallery. That led to me meeting Johnny, who works for the gallery and has his own arts business ventures.

Johnny was my first contact for the project, as I was eager to include someone working at RISE - especially as he was behind the community advertising for the gallery's recent street art festival, which was held in St George's Walk. 

Through Johnny I was able to reach a few street artists that have working relationships with RISEGallery. Through my own knowledge and research I also compiled a list of people I wanted to participate in the shoot.

Below is a table listing everyone that I wanted to get involved. I reached out to all of the potential participants through social media. I received replies from everyone except for the last name; the founder of Croydon FM.

green = I was ultimately able to photograph them.

red = it wasn't possible to co-ordinate a shoot.

Especially given that most of these creatives have office day jobs, it was incredibly difficult to organise photo shoots. With financial limitations I couldn't travel to Croydon more than a handful of times so I attempted to get as many participants available on single days, to photograph them consecutively.

I allocated a number of weeks to co-ordinate the photo-shoots but found that because everyone, including myself, had such different schedules, it was impossible to photograph everyone. 

If I were to re-shoot this project I would certainly do so outside of a university term so that I have more freedom to travel, and work around my participant's schedules.

I was able to organise one full day of shooting, photographing only four of the people of interest. Though this wasn't the outcome I anticipated, I still think that the shoot was incredibly successful in the end. I was able to photograph a diverse range of local creatives. Instead of  a photo essay of eight individual portraits, I refined my ideas to produce an essay with multiple, varied portraits of the same subjects. 

6. SHOOT PLAN & CONTACT SHEETS

ISSUE WITH PHOTO SHOOT PLAN: The sudden, unannounced demolition of the St George's area hugely impacted my shoot plan. From my experiences in the area, and my test shoot, I had numerous creative ideas especially relating to how I could compose portraits. From the conceptualisation of my photo essay, I had very specific plans for shots in mind - which were exemplified and executed in my test shoot.

The demolition work began so abruptly, it was not possible to hold the photo shoots before the mall was shut off - and there was little information on what parts of St George's Walk would remain accessible.

I developed a plan below, having to branch out further than my specific location. The resulting images were not entirely what I had planned, because many of the places visited in my test shoot had been shut off from the public.

Before beginning each shoot I asked the participants to sign a model release, using the RPS template:

I shot hundreds of images throughout the day. A key inspiration for my composition was the propaganda posters I sourced on my Pinterest board. In these images, all of the artists portray the subjects looking upward, out of the frame, as a symbolic code for freedom and liberation. The tilted heads suggest the idea of society moving forward, and looking to the future. I wanted to reflect similar connotations in my work, based on the tumultuous socioeconomic status of the St George's Walk area and how all of the residents are trying to see its future - whether the demolition is for better or worse.

I photographed the models in poses inspired by the above propaganda posters, as well as a variety of compositions both portrait and landscape. I attempted to photograph as many variations as possible (such as each model looking straight at the lens, and off-camera) as I was not completely decided on how I would construct an overall theme. If I decided to neglect the propaganda inspired idea, for instance, I would at least have enough differing images to construct an alternate message.

Importing the shoot folder into Adobe Bridge, I sorted images using the tag system to choose what images I would "definitely" and "maybe" edit. Below is the contact sheet of just the images I tagged as "definite," then I have highlighted my favourites. (I shot around 500 images overall)

As I couldn't shoot more than four participants due to scheduling difficulty, I have decided to create a photo essay of eight images - two portraits for each person. I shot a variety of traditional headshot-style images, as well as landscape-oriented portraits that frame the subjects in their surroundings.

My initial selection above changed slightly. Whilst editing the images in Photoshop, I regularly referenced back to my folder of all images captured on the shoot, and decided certain shots were slightly better. I think it is important to revise decisions when culling images, as my perspective during editing was different to my immediate opinions about the images. 

After completing an initial round of edits, I left the project for around a week. I came back to it later with a fresh perspective and was able to spot, then correct, editing inconsistencies such as too much warmth in one image, making it stand out from the whole series. When editing for a second time I focused more on producing a consistent style across all of the images. I had co-ordinated the shoot so that all the models were wearing similar colours, against largely grey concrete backdrops. I tweaked colours slightly in Photoshop but maintained a consistent colour palette across each model's images. For example, I de-saturated strong red tones in the Croydon logo on Wes's jumper, so that the reds across the whole photo essay matched more successfully.

The editing process outlined below was roughly the same for all images:

After editing approximately 20 of the strongest images, I then reviewed them side by side in Lightroom to decide which images to cull for my photo essay. I selected eight images total in a systematic order: for each model, I selected one portrait-oriented MCU shot, and one landscape-oriented shot. My plan was to create a visual pattern across the photo essay.