It is thought that the site of St Helier was settled at the time of the Roman control of Gaul.
The medieval writings of Helier, who is the patron saint of St. Helier, suggest a picture of a small fishing village on the dunes between the marshy land behind and the high-water mark.
Currently, the St. Helier parish church is some distance from the sea but at the time of its original construction it was on the edge of the dunes at the closest practical point to the offshore island called the Hermitage (where Helier was supposedly martyred). Before land reclamation and port construction started, boats could be tied up to the churchyard wall on the seaward side.
An abbey of St Helier was founded in 1155 on L’Islet, which was an island that becomes submerged at high tide, adjacent to the Hermitage. The site of the abbey was fortified to create the Elizabeth Castle that replaced Mont Orgueil as the Island’s major fortress.
As centuries moved on, St. Helier constantly expanded from the string of houses and shops that it was in the 18th century through building structures such as the harbour and the tunnel in 1960s. Now that St. Helier has reclaimed the land that was planned, they are now focusing on filling all of the empty plots on the parish to create a busy and modern environment.
My Area Of Focus
On Tuesday 19th June I will be photographing the area shown in orange on the map at the top of this post. This area of town contains lots of history and landmarks which will be interesting to capture photographs of. Some points of interest that I will be looking at is the Victoria College due to the architecture of it and the history behind it, and lots of local businesses such as the Mayfair hotel in order to capture environmental portraits of the people of St. Helier as archival-photographers such as Albert Smith did in the earlier stages of St. Helier
Albert Smith is the best known and probably the most prolific of Jersey’s early photographers, although a significant number of pictures attributed to him, and particularly those used for his postcards, were taken not by him, but by employees or by Ernest Baudoux, whose business he acquired when he arrived in Jersey from London
Thousands of his images survive as glass plate negatives and subjects include studio portraits and portraits of cattle. Many of his views were sold as postcards. He and his staff not only worked on commissions, but also captured many scenes of island life and events of historical importance. Nearly 2000 of his images can be seen on line in the photographic archive of la Société Jersiaise, out of a total of nearly 3,300 held in the archive.
Among these are undoubtedly many not taken by Smith. Not only, as mentioned above, are there images acquired from Ernest Baudoux, and others taken by employees of Smith, but some are also dated after he closed his business in 1931. It is not clear whether he continued to take photographs after that date, which are included in the Société Jersiaise collection, and private collections, or whether they were taken by staff. There is little doubt that they have been correctly attributed either to Smith or a (former) employee, because there are photographs, bearing his signature logo, taken at the Battle of Flowers in the mid-1930s and at the opening of Jersey Airport in 1937.
The Albert Smith business’s photographs were taken to sell and, in addition to those in negative format in the Société Jersiaise collection, many thousands of prints remain in circulation, notably in two collections in South Africa and the United States, to which Jerripedia has been given access.
This link to a gallery of photographs shows the extreme diversity of Albert Smith’s work. Although all of these photographs may not have been taken by him personally, they are all attributed to his business. Many are overtly commercial, but others constitute a fascinating documentary of life in Jersey in the late 19th and early 20th century. Although an early advertisement promoted portrait photography in clients’ homes, Smith, unlike many of his contemporaries in Jersey was not predominantly a portraitist. He preferred to work out of doors, photographing groups on carriage and charabanc outings. This gallery only contains a limited selection of the hundreds of Smith photographs to be found throughout the site.
Smith published a book in about 1910 of 102 Views of Jersey and the Channel Islands, which includes pictures of early Battles of Flowers, and a selection of pictures of Guernsey. Among other advertisements in the book is one for his own series of Hartmann’s coloured Jersey postcards.
Currently St Helier is seen to be a pivotal area for tourism due to the historical significance seen through the architecture and many monuments within jersey.However,I think the future of St Helier should be surrounding a modernisation of the area and the belief that new types of models and a variety of buildings will increase the heightened market for finance and so allowing Jersey to move past the history and become more prevalent when coming to current society and the needs of expansion and futuristic development. Modern buildings such as high build buildings are needed in order to move St Helier from being a town into a more city oriented landscape,However this does not mean the demolishing of historical buildings but enhances their presence when seen and also forms a joint society of future and past to show a movement of cultures and diversity being capable within Jersey. This would also benefit jersey as tourism is not the main centred interest anymore as finance is the most important as this is where the money for funding is found to benefit the government and future advancements surrounding jersey itself. St Helier needs to move forward,150 years ago citizens of St Helier would have said to keep jersey how it is but that isn’t possible and will not benefit their needs as a society in the future.The mordenisation would benefit the younger generation as it gives them more sources for growth wihtin their world sectors, allows the government to fund university fees, and is the foregrounding of many possible future job oppitunities.For my project I Would want to purpose more Morden enhancements and capture of the property development of new builings and general progression of St Helier.(or to study developments and companies which are already supporting and creating these new buildings)
However with these developments we cannot be ignorant to the fact they will not directly benefit the citizens of St Helier and consequently not address their voices and needs.To address this the new buildings should not be purely concentrated on finance but also a sense of community. Not enough races are highlighted through St Helier,so advertising communities and a sense of home might allow enhanced relationships within different community sectors and more people to want to live within jersey.This could be community shared areas such as the theater,waterfront,fort regnant or other areas of importance to jersey. Addtionally community clubs within St helier where people of all ages have an ability to talk among each other about there loves and doubts with St Helier.All the current communities wihtin St Helier are segregated wihtin specific races,such as cheap side,there needs to be more resources of morden builings and a sense of communities for the public to voice what they want within St Helier. Once again there are sources of entertainment within jersey but they are not advertised to the extent to which they should,but a mordenistaion and re vamp will allow poeple to view each hitorical or entertainment site in a new light. Modernization could just be the re-use of old buildings or a revamp and to continue to use an area that has been lost by history.The large progress and a new jersey future invests in different Morden forms current within the rest of the western world.
In my opinion, the future of St Helier needs to be more diverse and cultural to allow it to be a place originality and authenticity . I would like to see more art e.g. galleries and public murals so St Helier could be known as a place of identity and atmosphere, which could also attract tourists as well as make St Helier a better place to live. Some parts of St Helier do keep Jersey tradition and heritage which contrast with the development of modern offices and constructions, going from one extreme to another, creating a mismatched style of buildings throughout the town. Going from extreme quiet to business could make it a hard place to live and visit. The future of St Helier could include sustaining more of the history of jersey through modern buildings and not losing jersey heritage as it still needs to grow and develop. The architecture within St Helier could develop and be more original to Jersey creating a stand out building only only seen in Jersey to attract more tourists. It could also focus on creating more of a sense of community for the people who live there, creating more community areas and open spaces, as well as more social areas for the youth.
Masterplan
A masterplan is a 5 year project (2016 – 2020) using photography, film and archival research to tell the story of Jersey’s economic growth and development in the twentieth and twenty-first centuries. It is about making the connection between buildings, social settings, and their surrounding environments. A master plan includes analysis, recommendations, and proposals for a site’s population, economy, housing, transportation, community facilities, and land use. It is based on public input, surveys, planning initiatives, existing development, physical characteristics, and social and economic conditions.
The island of Jersey is one of the world’s leading offshore International Finance Centres. In the second half of the twentieth century Jersey’s economy has experienced a radical transformation from one based upon agriculture and tourism to a financial services industry which today commands over 50% of total economic activity. 104,000 people live in Jersey in 2017 and over 13,000 islanders are employed within the finance sector.
History of St. Helier
Saint Helier is one of the twelve parishes of Jersey, the largest of the Channel Islands in the English Channel. St Helier has a population of about 33,500 and is roughly 34.2% of the total population of Jersey. The parish covers a surface area of 4.1 square miles, being 9% of the total land area of the Island (this includes reclaimed land area of 494 acres
18th century
Until the end of the 18th century, the town consisted chiefly of a string of houses, shops and warehouses stretching along the coastal dunes either side of the Church of St Helier and the adjacent marketplace (since 1751, Royal Square). La Cohue (a Norman word for courthouse) stood on one side of the square, now rebuilt as the Royal Court and States Chamber (called collectively the States Building). The market cross in the centre of the square was pulled down at the Reformation, and the iron cage for holding prisoners was replaced by a prison gatehouse at the western edge of town.
This picture shows the grand ceremony held in the Royal Square in 1881 to commemorate the 100th anniversary of the Battle of Jersey. It shows the Square in very early years, before it was surrounded by buildings; at the end of the 18th century; throughout the 19th century when major chages were made to the buildings on the east of the Square, gradually expanding the line of government buildings; and into the 20th century.
20th century
In the 1960s, income from the Jersey States Lottery was used to excavate a two-lane road tunnel under Fort Regent, enabling traffic from the harbour to the east coast towns to avoid a torturous route around the fort. About the same time, the Fort was converted into a major leisure facility and was linked to the town centre by a gondola cableway – closed and demolished in the 1990s. n 1995, to celebrate the 50th anniversary of Jersey’s liberation from Nazi occupation, and thus 50 years of peace, a sculpture was erected in what is now called “Liberation Square”, in front of the Pomme d’Or Hotel, the focal point for the celebrations when the island was liberated.
Week 1: 11 – 17 June Tuesday 12 June Societe Jersiaise – all day
Presentations, inspirations and workshop on exploring St Helier and looking at narrative using images in the collection of Percival Dunham
Tuesday 12 June Societe Jersiaise – all day
Presentations, inspirations and workshop on exploring St Helier and looking at narrative using images in the collection of Percival Dunham.
Blog: Produce a number of blog post that illustrate your knowledge and understanding. Use images , video and references to hyperlinks from sources used
Describe your own view, feelings and vision for how you see the Future of St Helier.
Define what a Masterplan is how it has influenced the development and planning of St Helier.
Provide a brief history of St Helier and research the specific area of town that you have selected.
Independent Study: Artists References/ Visual Inspiration. Research the Photo-Archive and select at least one photographer from the list provided that reference you chosen areas of study. Select at least one contemporary photographer that provides visual inspiration for your own shoots.
Photo-Archive
Dunham, Percy
Baudoux, Ernest
Smith, Albert
Henry Mullins
Produce a mood board with a selection of images and write an overview of their work, why you have chosen them and how it may help develop your own ideas and shoots for your project.
Select at least one image from each photographer and analyse in depth using methodology of DESCRIBE – INTERPRET – EVALUATE – CONTEXTUALISE.
Make a detailed shooting plan on how you intend to respond to your research and chosen area of St Helier
Extension task: Select a second photographer from the Photo-Archive and a second contemporary photographer and follow the above instructions.
Deadline: Mon 17 June
MASTERPLAN
A masterplan is a dynamic long-term planning document that provides a conceptual layout to guide future growth and development. Master planning is about making the connection between buildings, social settings, and their surrounding environments. A master plan includes analysis, recommendations, and proposals for a site’s population, economy, housing, transportation, community facilities, and land use. It is based on public input, surveys, planning initiatives, existing development, physical characteristics, and social and economic conditions.
Review of the current Masterplan of the Waterfront
JERSEY DEVELOPMENT COMPANY
Jersey Development Company (JDC) is owned by the States of Jersey. It is responsible for completing the development of the St Helier Waterfront and regenerating States owned property no longer required for the delivery of public services.
You should : Explore their website and research a specific construction and build environment.
Here is a link to St Helier on Wikipedia which describes how the parish of is divided into 6 vingtaines for administrative purposes.
PSYCHO-GEOGRAPHY// SITUATIONISM
We have explored Psycho-geaography as a concept and way of working before…during the AS Landscape Project. Many of you succeeded in developing strong ideas by following some of the ideas.
Psycho-geography is a hybrid of photography and geography that emphasizes playfulness and “drifting” around urban environments. It has links to the Situationist International.
Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.”
Another definition is “a whole toy box full of playful, inventive strategies for exploring cities… just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.
The originator of what became known as unitary urbanism, psychogeography, and the dérive was Ivan Chtcheglov, in his highly influential 1953 essay “Formulaire pour un urbanisme nouveau” (“Formulary for a New Urbanism”).
Marcus Desieno creates de-humanised landscape photography by hacking surveillance camera networks…but avoids privacy problems normally associated with urban and residential areas…
Typology means the study and interpretation of types and became associated with photography through the work of Bernd and Hilla Becher, whose photographs taken over the course of 50 years of industrial structures; water towers, grain elevators, blast furnaces etc can be considered conceptual art. They were interested in the basic forms of these architectural structures and referred to them as ‘Anonyme Skulpturen’ (Anonymous Sculptures.)
The Becher’s were influenced by the work of earlier German photographers linked to the New Objectivity movement of the 1920s such as August Sander, Karl Blossfeldt and Albert-Renger-Patzsch.
August SanderKarl BlosfeldtAlbert-Renger-Patzsch
See also the work by Americans, William Christenberry and Ed Ruscha’s photographic works on types e.g. Twentysix Gasoline Stations (1964). Every building on the Sunset Strip (1966). Or Idris Khan‘s appropriation of Bechers’ images.
Ed Ruscha, 26 Gasoline Stations
William ChristenberryIdris Khan
See previous blog post for more guidelines and a photo-assignment.
Not least of the Bechers’ legacy is their lasting influence on subsequent generations of artists who use the photographic medium today, most notably the students taught by Bernd Becher at the Düsseldorf Art Academy between 1976 and 1996. Among his most renowned students are Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth.
Andreas GurkstThomas Struth born 1954 Ferdinand-von-Schill-Strasse, Dessau 1991 1991Thomas RuffCandia Hofer
From Germany, apart form the legacy of the Dusseldorf Kunst Akademie headed by the Becher’s another school of photography, the Werkstatt für Fotografie (Workshop for Photography) was founded in Berlin by Michael Schmidt who invited several leading American photographers, including William Eggleston and John Gossage, to teach there.
Michael Schmidt Waffenrufe
Responding to the wall between East and West in Berlin Schmidt produced a seminal work, Waffenrufe. Another body of work Berlin Nach 45 show empty streets of East Berlin made in the early hours as a quite testament to post war German architecture and urban city planning
Conceptual approaches to natural/ man-made environments
Tanja Deman is a Croation artist who was Archisle’s International Photographer-in-Residence in 2017.
Her art is inspired by her interest in the perception of space, physical and emotional connection to a place and her relationship to nature. Her works, incorporating photography, collage, video and public art, are evocative meditations on urban space and landscape. Observing recently built legacy or natural sites her work investigates the sociology of space and reflects dynamics hidden under the surface of both the built and natural environment.
Tanja Deman Fernweh
Fernweh series explores the concept of a modernist city through its extreme relations to the landscape. The images are placed on a blurred line between a past which reminds us of a future and a future which looks like a past. Scenes are referring to the modernist ideas and aspiration of a man conquering the natural wild land and subordinating it to the rational order, and the consequences of those aspirations, which switched into the longing for an escape from urban environments.
Tanja Deman Collected Narratives
Collective Narratives is a series staging a moment of contemplation of nature and built environment. Natural spectacles, framed in theatrical space are contemplated by an audience. These constructed images consolidate: geological formations; a projection of an urban environment; an arena; a deep chasm; a theatre and a crumbling slag-heap through a very active kind of watching.
While making the series ‘Collective Narratives’ I was interested in different types of spectatorship and architectural settings in which they are taking place. Moreover, the notion of a ritual in which a large group of people gathers and participates in order to experience something together by observing, intrigued me. I see these spaces for cultural and sports spectacles, as zones of pure potential, where the world must be rebuilt or re-imagined every time they are in use. Having liberated them from their utilitarian, commercial restrains, and the environments in which they were created, I allow them to cross the boundary of reality.
Together these scenes examine time and the strange modes of spectatorship attached to the inanimate world. A collective witnessing of phenomena that are usually experienced in private atmospheres.
Staged / Constructed Environments Land art is art that is made directly in the landscape, sculpting the land itself into earthworks or making structures in the landscape using natural materials such as rocks or twigs
Robert Smithson Spiral Jetty
Land art was part of the wider conceptual art movement in the 1960s and 1970s. The most famous land art work is Robert Smithson’s Spiral Jetty of 1970, an earthwork built out into the Great Salt Lake in the USA. Though some artists such as Smithson used mechanical earth-moving equipment to make their artworks, other artists made minimal and temporary interventions in the landscape such as Richard Long who simply walked up and down until he had made a mark in the earth.
A Line in the Himalayas 1975, printed 2004 Richard Long born 1945 Presented by the artist (Building the Tate Collection) 2005 http://www.tate.org.uk/art/work/T12035
Land art, which is also known as earth art, was usually documented in artworks using photographs and maps which the artist could exhibit in a gallery. Land artists also made land art in the gallery by bringing in material from the landscape and using it to create installations.
Parallel Stress 1970 Dennis Oppenheim
As well as Richard Long and Robert Smithson, key land artists include Hamish Fulton, Walter de Maria, Michael Heizer, Dennis Oppenheim and Christo and Jeanne-Claude
Hamish Fulton(born 1946) is a British walking artist. Since 1972 he has only made works based on the experience of walks.
Wind through the Pines 1985, 1991 Hamish Fulton born 1946
William Christenberry making typological studies of vernacular architecture traditional to the deep American South.
Christenberry also made little sculptures or 3D models of some of the buildings he had photographed
Photography and sculpture
Photographic installations which are site specific and 3-dimensional is very in vogue right now. In the exam paper starting point 4 is about artists exploring the material nature of a photographic image and the idea that photographs can be sculptural. Here are a few artists to explore
Felicity Hammond is an emerging artist who works across photography and installation. Fascinated by political contradictions within the urban landscape her work explores construction sites and obsolete built environments.
The Space Between @ ART ROTTERDAM 2017
The Space Between @ ART ROTTERDAM 2017
In specific works Hammond photographs digitally manipulated images from property developers’ billboards and brochures and prints them directly onto acrylic sheets which are then manipulated into unique sculptural objects. http://www.felicityhammond.com/
Lorenzo Venturi: Dalston Anatomy
Lorenzo Vitturi’s vibrant still lifes capture the threatened spirit of Dalston’s Ridley Road Market. Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.
His installation at the Gallery draws on the temporary structures of the market using raw materials, sculptural forms and photographs to explore ideas about creation, consumption and preservation.
Watch our exclusive interview with Lorenzo.
Lorenzo Vetturi
http://www.lorenzovitturi.com/
Mishka Henner, Trevor Paglen, Doug Rickard, Daniel Mayrit all use found images from the internet, Google earth and other satellites images as a way to ask questions and raise awareness about our environment, state operated security facilities, social and urban neighbour hoods, prostitution, and London’s business leaders of major international financial institutions.
Mishka Henner, Levelland Oil Field- Texas
US oil fields photographed by satellites orbiting Earth.
Mishka Henner Dutch Landscapes
Mishka Henner: I’m not the only one, 2015
Single channel video, 4:34 mins
Photographer Trevor Paglen has long made the advanced technology of global surveillance and military weaponry his subject. This year he has been nominated for the prestigious The Deutsche Börse Photography Foundation Prize which aims to reward a contemporary photographer of any nationality, who has made the most significant contribution (exhibition or publication) to the medium of photography in Europe in the previous year. The Prize showcases new talents and highlights the best of international photography practice. It is one of the most prestigious prizes in the world of photography. Read more here
Trevor Paglen
Doug Rickard is a north American artist / photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his monitor, to create series of work that have been published in books, exhibited in galleries.
Months after the London Riots in 2008 (at the beginning of the economical crash) the Metropolitan Police handed out leaflets depicting youngsters that presumably took part in riots. Images of very low quality, almost amateur, were embedded with unquestioned authority due both to the device used for taking the photographs and to the institution distributing those images. But in reality, what do we actually know about these people? We have no context or explanation of the facts, but we almost inadvertently assume their guilt because they have been ‘caught on CCTV’.
In his awarding book: You Haven’s Seen the Faces..Daniel Mayrit appropriated the characteristics of surveillance technology using Facebook and Google to collect images of the 100 most powerful people in the City of London (according to the annual report by Square Mile magazine in 2013). The people here featured represent a sector which is arguably regarded in the collective perception as highly responsible for the current economic situation, but nevertheless still live in a comfortable anonymity, away from public scrutiny.
See also this book Looters by Tiane Doan Na Champassak
Another Kind of Life: Photography on the Margins
At a time of significant national and global uncertainty, the season in 2018 at the Barbican Art Gallery in London explore how artists respond to, reflect and potentially effect change in the social and political landscape.
Reflecting a diverse, complex and authentic view of the world, the exhibition touches on themes of countercultures, subcultures and minorities of all kinds, the show features the work of 20 photographers from the 1950s to the present day. Diane Arbus, Casa Susanna, Philippe Chancel, Larry Clark, Bruce Davidson, Mary Ellen Mark, Paz Errázuriz, Jim Goldberg, Katy Grannan, Pieter Hugo, Seiji Kurata, Danny Lyon, Teresa Margolles, Boris Mikhailov, Daido Moriyama, Igor Palmin, Walter Pfeiffer, Dayanita Singh Alec Soth and Chris Steele-Perkins
Paz Errázuriz The beautifully arresting series of photographs, Adam’s Apple (1982-87), by Chilean photographer Paz Errázuriz are of a community of transgender sex-workers working in an underground brothel in Chile in the 1980s. Taken during the military dictatorship of General Augusto Pinochet when gender non-conforming people were regularly subjected to curfews, persecutions and police brutality, the photographs are a collaborative and defiant act of political resistance.
Read review here in Dazed and Confused and a gallery page in the Guardian
Lewis Bush: Archisle Photographer-in-Residence 2018 is a Photographer, Writer, Curator and Educator based in London. After studying History and working as a researcher for the United Nations Taskforce on HIV/AIDS he completed a MA in Documentary Photography at the London College of Communication in 2012. Since then he has developed a multifaceted practice encompassing photography, writing and curation to explore ideas about the way power is created and exercised in the world. In The Memory of History (2012) he travelled through ten European countries documenting the way the past was being manipulated in the context of the economic crisis and recession. This project was widely published and was exhibited at the European Union’s permanent representation in London in 2014. More recent works include Metropole (2015) which critiques the architectural transformation of London and the city’s growing inequality by subverting the imagery of London’s luxury and corporate developments. Bush’s new book Shadows of the State (2018) uses open source research to reveal numbers stations, cold war intelligence communications which remain in use today. Bush is a Lecturer on the MA and BA(hons) Documentary Photography Programmes at London College of Communication.
City and abstraction:
Aaron Siskind
Ernst Haas
Saul Leiter
Street Photography:
Beat Streuli
Canon of american street photography
Walker Evans and his project Labour AnonymousRobert FrankLee FriedlanderGary WinograndDiane ArbusWilliam EgglestonStephen Shore
Jim Goldberg
Eamon Doyle: trilogy from Dublin
The City at Night:
Rut Blees Luxembourg
Maciej Dakowicz: Cardiff at Night
Todd Hido
Saul Leiter
Daniel
Last year Tom Pope came to Jersey for a 6 month residency with Archisle in the Photographic Archive of the Société Jersiaise, Jersey and produced an exhibition and installationI Am Not Tom Pope, You Are All Tom Popefeaturing a number of diverse and new work incorporating elements of photography, performance, video and sculpture. Go to his website to see examples of his unique work. Here are some of the key concepts that underpin’s his work and practice:
Here are a list of other artists/ photographers that has influenced Tom Pope’s work and that may inspire you: Vito Acconci, John Baldessari, Yves Klein, Bas Jan Ader, Erwin Wurm, Chris Arnatt, Richard Long, Hamish Fulton, Joseph Beuys, Chris Burden, Francis Alÿs, , Sophie Calle , Nikki S Lee, Claude Cahun, Dennis Oppenheim, Bruce Nauman, Allan Kaprow, Mark Wallinger, Gillian Wearing, Sam Taylor-Johnson, Steve McQueen, Marcel Duchamp and the Readymade, Andy Warhol’s film work, Marina Abramovic, PipilottiRist, Luis Bunuel/ Salvatore Dali: , Le Chien Andalou, Dziga Vertov: The Man with a Movie Camera
John Baldessari: “I will not make any more boring art…”
My aim for my response to Klaus Pichler is to tackle the similar issues he faces in his pieces. I don't want to directly copy his work so I will take a slightly different approach that reflects mass production and waste aimed at the meat industry as I believe this industry is a core problem to environmental issues. This issue is kept quiet and avoided by the Government and ignored by the public because we are uneducated about the issue and its detrimental effects to our lives.
http://theconversation.com/five-ways-the-meat-on-your-plate-is-killing-the-planet-76128
From asking 20 people what meat they could not live without, giving them the options of beef, chicken, bacon or pork, 4 stated beef, 5 chicken, 8 bacon and 3 pork. Bacon was the most popular meat and therefore it will be my chosen meat to feature in my photo shoot.
I will use my bathroom because I will be using raw meat which is not suitable for a studio due to fat, grease and general juice produced by raw meat. Hopefully the bacon will stick on my bathroom walls so I can easily compose my pictures.
Someone described Banino’s work as “Pop-Renaissance” or “Pop-Baroque”, mixing popular culture and Old Masters. He has gained international recognition with his photos and has been published internationally in a variety of magazines including National Geographic, The Times, The Daily Mail, The Guardian, Harper’s Bazaar, Elle, Cosmopolitan and many others.
His work resembles the style of famous Vanitas paintings.
The two images above are examples of Vanitas Paintings by Pieter Claesz.
Image Analysis:
The image uses little lighting except one spotlight that hits the objects, this guarantees the viewers attention will be on these objects.
I believe the photographer would have used a quick shutter speed to take this image as there is a cloud of smoke that appears still above the candle
The arrangement of the items in this image help tell the story of the person who owns them.
Dan Bannino’s ‘Niche of Wonders’ dedicates personal collections of items intended to reveal something about how their owner saw the world. His inspiration came from the historical items people owned in the renaissance era.
This provides the vanitas style without the meaning of death, however is personal to owner and reveals mysteries about them.
Tom Hunter is an artist using photography and film, living and working in East London. He is Professor of Photography at the London College of Communications, University of the Arts, London, Honorary Fellow of the Royal Photographic Society and has an Honorary Doctorate from the University of East London. Tom has earned several awards during his career, his latest in 2016, the Rose Award for Photography at the Royal Academy, London.
^ Ophelia by John Millais
^The Geographer by Johannes Vermeer
Many of Tom’s series show he is inspired by famous artists such as Johannes Vermeer and John Millais, He even takes inspiration from Biblical Tableaux paintings.
Image Analysis:
-In Johannes Vermeer Painting titled ‘Girl Reading a Letter at an Open Window’ the open window is on one level intended to represent “the woman’s longing to extend her domestic sphere” beyond the constraints of her home and society, while the fruit “is a symbol of extramarital relations.” The letter that she holds is a love letter either planning or continuing her illicit relationship. Tom Hunter re-imagines this image in current times showing a woman reading a possession order that tells her she has to leave her home.
-Hunter uses natural lighting to hit the side of the woman’s face allowing for emphasis of her emotional state.
-The ISO that Tom uses appears to be low as the image is mainly darker in tone. This is used as an advantage to give focus to where the light hits, the woman and the baby.
Richard Tuschman began experimenting with digital imaging in the early 1990s, developing a style that synthesized his interests in photography, painting and assemblage. Tuschman holds a BFA from the University of Michigan in Ann arbor, and has been exhibited widely, both in the US and internationally. His photographs have been published on numerous online magazines/journals including Slate, LensCulture, LensScratch and Huffington Post. Tuschman lives and works in New York City.
Hopper Meditations is a photographic response to the work of the American painter, Edward Hopper. Richard Tuschman originally began by basing each work on a specific Hopper painting however progressed to create his own compositions inspired more by Hopper’s style and vision.
Tuschman created his own sets by digitally marrying dollhouse-size dioramas with live models. A lot of the furniture is standard dollhouse furniture, but he also made some himself. He photographed his models separately and photoshopped them into the scene.
Image Analysis
-The natural lighting in Hopper’s Painting is shown coming from a window, Tuschman recreates this with his own made set. The images have an overall quiet narrative presented by the emotional states of the models in both images. Richard Tuschman manages to heighten this feeling using dramatic lighting to create shadows around the model. However, Tuschman imagines the lighting almost as another character that echoes and evokes the inner life of the woman on the bed in comparison to Hopper who uses his lighting more harshly.
-The interior of the room has a cold temperature in comparison to outside the window which appears warmer, showing that isolation can be felt within.
-The woman in the painting, modeled after Hopper’s wife, Jo, faces the sun impassively and seemingly lost in thought. Her visible right eye appears sightless, emphasizing her isolation. The bare wall and the elevation of the room above the street also suggest the bleakness and solitude of impersonal urban life.
Read 
