Cropping is an important aspect when it comes to editing photos as it can cut out any unwanted factors within your images and make your viewers focus on the things which you want them to focus on.
Image number 1:
I chose this image to start with. This image was taken at Battery Moltke within the underground hallways where the ammo for the guns were kept.
After selecting the crop tool, I pulled the sides in to crop out the stuff I didn’t want. I want the viewers to focus on the hole in the wall, so I cropped out most of the wall around it, leaving in some of the dents and scratches to keep it interesting.
This was my final image after cropping it. However, I still thought that there was too much wall in the image which took the attention away from the hole, so I decided to go back to the crop tool to see if I could make it any better.
A good thing about the crop tool in lightroom is that even after you’ve cropped it, it still keeps the original image for you so if you do want to go back and make changes, it has the whole image left for you just in case. I went and pulled the box more inwards, stopping just at the dent which is in the bottom right side of the image.
After our visit to Noirmont and producing some black and white edits I moved onto physically editing the photographs in the form of photo-montage. I used a mixture of archival and my own image experiments to create the montages by physically merging the photographs together.
Photomontage Experiment 1
Above shows my first experiment with photo-montage, I used two of my own photographs to generate this final product. I wanted to create the illusion of the structure coming out of the sea. This showing the impact of the use of the water that was used to keep the island under occupation and how it was the German Navy here as well as Soldiers. I feel this experiment went well and I like how that it merges together which is why I chose to use two black and white images so that it would merge easily into one.
Photomontage Experiment 2
Above shows my second photo-montage experiment, this time using an archival image of the houses and my own image produced at the sight of Noirmont. I like how the archival image was in black and white and my own was in colour as I feel it shows the contrast and makes them stand apart from each other. Although the archival image is from a different place in Jersey and doesn’t necessarily show the buildings related to the occupation I feel I wanted to make a photo-montage of the houses coming out of the water as a hint towards the people are still here with these structures and their houses which were also under occupation.
Photomontage Experiment 3
Above shows my last photo-montage experiment, this one I wanted to try something a little different to the last two and I used only archival images to produce this one. I have chosen to have the figure leaning on top of one of the air-raid shelters. I don’t have a clear understanding of who the large figure in the photograph is but my aim was just to try generate the concept of that someone was always in control or on top watching down especially during the occupation, the people of jersey were always being controlled.
Batterie Lothringen was a World War II coastal artillery battery in Saint Brelade, Jersey, named after the SMA Lothringen and constructed by Organisation Todt for the Wehrmacht during the Occupation of the Channel Islands. The first installations were completed in 1941, around the same time as the completion of the nearby Battery Moltke in St Ouen.
The batterie site is located at the end of Noirmont Point, a rock headland which overlooks St. Aubin’s Bay, Elizabeth Castle, and the harbours of Saint Helier. Its was a part of The Atlantic Wall system of the coastal fortifications, and most of the concrete structures remain today. The 3rd Battery of Naval Artillery Battalion 604 were stationed here.
In 1950 the states of Jersey purchased the headland at Noirmont as a memorial to all the people of Jersey who lost their lives during the occupation. A memorial stone was unveiled at Noirmont on 9th May 1970 to mark the 25th anniversary of liberation.
Our Visit:
On our visit to Battery Lothringen we were lucky enough to meet with Tony Pike, who took us round some of the bunkers and Gun Points and discussed with us the history surrounding Battery Lothringen. We were lucky enough to be able to have one of the bunkers opened for us and to be able to go inside and explore the bunkers. It was a very informative and useful visit, I was able to produce lots of photographs of not only the bunkers themselves but also the landscapes surrounding them.
Photographs Produced:
A selection of my taken photographs at Noirmount
Black and White Experiments:
Using Lightroom I began to experiment with Lightroom and turning the images I produced on the visit into black and white to see the different effects that this has on the photographs and how it changes the way the images are seen and perceived. I went through and Flagged in Lightroom the images I wanted to use and I thought were my most successful and then I selected a small number of them to produced into black and whit, I chose 6 images and selected them all and then went into the ‘Quick Development’ part of Lightroom and chose to go for the high contrast of black and white as I feel these sorts of images look good and work well in black and white and the high contrast gives them a dramatic effect.
Final Outcomes Black and White
These are my outcomes from the black and white experiments that I have produced in the black and white experiment, I feel they have worked and turned out well and that it has had a good effect on the photographs. I feel it creates more atmosphere and emotion in the photographs and gives them a dramatic effect that I feel works well with these types of photographs. I feel by having them in ‘high contrast’ black and white it has created a large tonal range and this creates more drama in the photograph and works really well with the really deep darks and very light whites.
Cropping Experiments:
For the cropping experiments I took some of the images that I had previously turned into black and white and trialled out some of the different ways I could crop them. Some being more extreme cropping and some less, for the example below showing my process there was a slight blur in the image in the top left corner, I experimented with just cropping this out and also cropping even further down to just having the gun in the frame.
Final Outcomes Cropping:
These are my outcomes for the cropping experiments, I feel that some of them have worked and turned out well to give a different perspective on the photographs compared to how they originally started out, whether that be just by cropping out blemishes but keeping the rest of the photograph all in frame, or by completely cropping down to just one part of the photograph to focus on, for example the gun point or the tower. I feel that these cropping experiments will work well and become useful to trial out further in the project when looking at people as I feel that would create a larger impact, however I do feel these images have worked well and it has added nice effects to the photographs and gives different perspectives.
Noirmont Point and a substantial part of the headland behind it was acquired by the States in 1950 as the Island’s war memorial, but sadly very few Jersey residents today are aware of this. It is a strange irony given its status as a memorial of a war in which Jersey was occupied by the Germans for five years, that probably the main reason for visiting the headland is to view the restored bunkers and gun emplacements of Batterie Lothringen, the only naval coastal artillery battery in the island and part of Hitler’s infamous Atlantic Wall. If nothing else, however, the purchase has ensured that this headland, which forms the western end of St Aubin’s Bay, remains one of the few relatively unspoilt areas of the south coast of the island, with the exception of the concrete structures, which for many years were left undisturbed as a lasting memory of the dark days of the German Occupation.
More recently they have been restored by members of the Channel Islands Occupation Society with interior displays which show what they would have been like when they were built to defend the island against any attempt by the British to recapture it.
In Jèrriais (the ‘local’ language of Jersey) the name is Nièrmont. The French form of the name follows the Jèrriais rule of the colour adjective preceding the noun: Noirmont. Both forms translate into English as the ‘Black Mount’.
An archive is a collection of historical records or an actual place that they are located in. Archives contain documents which have been collected over a longitudinal period of time. These primary documents are then stored and used to showcase the function and or story of a particular person or organisation. Archives are used to allow us to gain a more in depth understanding of the historical factors at a particular moment in time, and act as a repertoire allowing us to reflect on the history of that specific place and time. Records stored within an archive is varied, from diaries, legal documents, financial documents to photographs and film. An archive can act as repositories of cultural memories of the past, as we are able to store reliable documents, which are memories of the past, which when we reflect on the documents will clearly show cultural memories. Although they are reliable, imagery is highly subjective which can lead to misinterpretation of the objects stored within an achive. Archival memory can be considered a social construct as they can show power of relationships in that society at that particular time in history.
Photography can perform as a double role within an archive as it visually showcases the person or organisation. Photographs can be used for both scientific purposes (images which are precise and detailed photographs of industrial events and processes. These photos can be used for monitoring industrial processes and allows us to view and analyse the change in the process. Within an archive this scientific purpose is useful as it allows us to see how a process or industrial event has changed from an archival image compared to a recent image of the same thing, allowing us to visually see a clear change) and artistic purposes (images which allows us to visually see the historic and cultural elements of the time and place at which the photograph was taken at. These photographs can almost tell stories which gives us insight into what life is like in that image and allows the imagination of the viewer to explore and interpret the photograph in a unique way.) which showcases the double role, of scientific and artistic purpose, which photographs have within a photo archive.
David Bate’s text explains how museums often use archives and collections of artefacts in order to display and present a particular cultural and or historical moment in time. Museums creates historical narratives of culture and can act as a repository of memories.
At the beginning of the text it talked about the ‘British Museum’ in London and how they only employed the first photographer, Roger Fenton, in 1854. Fenton captured images of the museum’s interior showcasing the artefacts, the reason behind this was to showcase what these artefacts looked like in the Victorian era, showing change and the historical values of the museum. The text says “The pictures themselves create an atmospheric space, with a kind of silence around the artefacts, a stillness of the historical museum.” This implies that the objects are said to have an “aura”, suggested by Walter Benjamin, which created a historical distance, outlining the importance of the historical factors in relation to the object. Fenton’s arhived images are still famous and are featured in museums to showcase the artefacts.
Another key artist mentioned within the text is Tracey Moffatt, who painted the series ‘Something More’ in 1989. In this series the paintings present a “fictionalised biographical account of a young Aboriginal woman’s desire to leave her rural life in the city.” In these images the background holds blurred figures in the background which are starring at the woman located in the foreground, the difference in appearance of the people helps to showcase the story and cultural factors within the paintings. Needless to say, the majority of the stories end in violence and or death. It is said that Moffatt’s early work within the series where based on personal memories, which makes her work a personal archive of personal memories presenting historical factors of her past.
Example of Moffatt’s Painting
Another key artist mentioned is Susan Hiller, who created hundreds of postcards of waves crashing onto the coasts around Britain, each postcards is presented differently through the experimentation of tinting, black and white and painting them. The postcards are then arranged into a grid format, showcasing an archival of “how a culture sees itself”. It is said that all the images work well together creating a lyrical display, as our eyes go round the frame following the waves crashing. Although the piece can be tranquil, the natural force of the sea begins to suggest a different viewpoint of force and power, which creates a link yo an emotional threat by a hostile person or idea. These methods and attitudes makes Hiller’s work an anthropologist or cultural archivist.
Susan Hiller’s photography
In a recent documentary on the BBC, Dr Gil Pasternak researched the photographic history of what family photographs say about Britain’s post-war social history. Within this they looked at issues concerning social class, gender and cultural background which affect the production, use and perceived meaning of a family portrait. They also looked at how the internet is changing the way photo archives are stored and used. Family Narratives where mainly shown through photo albums which showcased how precious some of the stories and memories where to the family. An important phrase told by Dr Gil read “These examples demonstrate how the development in photographic technology combined with local social history influenced the types of photographs they were able to capture, and therefore also the stories they were able to tell about themselves, their family and friends, their beliefs, interests, aspirations, and life in the UK more broadly.” They also said “In the era of smart technologies, family photographs no longer merely function as memories of the past, but they instead become active participants in the formation of our present experiences and in shaping the dynamics of family life.” This quote summaries the conclusions of the research and how modern day is shaping society and photography.
With the world constantly changing, and the future looking to be solely reliant on technology, it begins to suggest how archives will change and adapt to meet the requirements of the future. Many people share there images through social media, from facebook to instagram, which creates an online storage/archive of that person’s past, which allows others to reflect on their past and presents that person’s narrative in life. Images are much easier to store this way and are more cost effective, compared to printing them out, and accessible to everyone making this an ideal way for people to achieve their past. A limitation to using modern technology to create archives is the issues of loosing images, or if a social media sight was to shut down, due to this it can lead to an incomplete of completely lost photo archive, making material harder to find and less reliable.
To conclude, an archive is a key tool for contemporary photographers. They provide historical/cultural narratives which gives us insight in what life was like at that time and place. The documents stored within an archive varies but all still help to present a specific memory and provides useful insight. Archival material can enrich my personal study as the material will gives me insight into historical and cultural elements of the second world war, which enables me to think more carefully about what I am capturing and allows meaning to be presented within the images. Moreover, the narrative of the images tells the story of the war and the different aspects which will allow me to explore the story and the different aspects, which will provide a more well rounded project. In addition, archival material will be useful when I want to explore the memories of others in order to present their stories and will provide useful historical facts and stimulus’ to help develop my idea and knowledge of the war. In Jersey we have an archive called “Societe Jersiaise” which is a photographic archive containing roughly 80,000 images dating from the 1840s to present day. Due to the resources available to me should lead to an in-depth research into Jersey’s Second World War. In addition, a photographic achieve is a valuable source for contemporary photographers because of the idea “the best art understands a history to anticipate a future.” It also allows photographers to look at interpreting history in a new way to reveal a subjective narrative.
6th June 2019 – 75th Anniversary of The D-Day Landings and the start of the liberation of Europe from Nazi Occupation
9th May 2020 – 75th Anniversary of Liberation of Jersey from Nazi Occupation
30th June 1940 – Jersey was invaded by the Germans. On this day they sent an airforce of bombers over the islands and bombed the harbours Jersey.
7 May 1945 – The German army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe.
8 May 1945 – The units that made up Force 135 received their orders to move to their marshalling camps in Portsmouth. The main body of the Force was due to arrive in the islands on 12 May, however, a small contingent of Force 135, including their Commander, Brigadier AE Snow, left for the Channel Islands aboard HMS’ Bulldog and Beagle the morning of 8 May.
At 7.15am on 9 May, on the quarter deck of HMS Bulldog, Second-in-Command for Guernsey General Siegfried Heine signed the Instrument of Surrender on behalf of the German Command of the Channel Islands, effecting their capitulation. On completion of this, General Heine was then ordered to “immediately cause all German flags and ensigns now flying in the Channel Islands to be lowered”.
Key Facts about ‘The Occupation of Jersey’:
The German’s prohibited the use of radios which lead to a lack of communication between the island and the mainland.
The island was also moved to Central European time. In the months following D-Day, as the Allies regained control of France, the source of supplies fueling the islands was now no longer available.
The Nazi’s put many restrictions on islanders (curfews, rations, not allowed to drive private motor vehicles) they also did not allow anyone enter or leave the island which lead to food shortages.
Food shortages on Jersey were finally relieved by the arrival of the Red Cross ship SS Vega, bringing food parcels to Jersey. Before then, substitutes had been used to replace everyday foods, with seawater replacing salt, for instance, and a mixture of parsnip and sugar beet replacing tea.
Hitler ordered the conversion of Jersey into an impregnable fortress. Thousands of slave workers from countries like Russia, Spain, France, Poland, and Algeria built hundreds of bunkers, anti-tank walls, railway systems, as well as many tunnel complexes.
The fortresses are mainly located around the coasts of the island in order to prevent unauthorised access in/out of the island.
The remains of theses fortresses can still be found on the island, which showcases the historical factors of the island.
The religion of Judaism was not accepted by Hitler/Nazis which lead to people within the religion being sent to concentration camps where they were treated poorly and sadly the nazis slowly killed them off.
Mood Board – Exploring Inspiration Towards The Occupation Of Jersey:
The Jersey Archive was established as part of Jersey Heritage in 1993. The Archive is the Island’s national repository and their purpose is to preserve the unique written cultural heritage of the Island therefore ensuring that future generations in Jersey can access archival material to learn more about Jersey’s past, as well as material on their predecessors. Since 1993 Jersey Archive has collected over 500,000 archival records from places or people related to the Island. Such as:
States of Jersey, States Committees and Departments
The Royal Court
H.E. Lieutenant-Governor
Parishes
Churches
Businesses
Societies
Individuals
These records are now stored in our environmentally monitored strongrooms at the Jersey Archive and can be searched online. The Jersey Archive is the official repository for the Island documentary heritage, and can offer guidance, information and documents that relate to all aspects of the Island’s History. The archives hold records and documents of all kinds, some being:
These records are now stored in our environmentally monitored strongrooms at the Jersey Archive and can be searched online. The Jersey Archive is the official repository for the Island documentary heritage, and can offer guidance, information and documents that relate to all aspects of the Island’s History. The archives hold records and documents of all kinds, some being:
House History
Contracts
Island Maps
Criminal Records for Family Historians
Military Records for Family Historians
Conservation
Preservation and Storage of Documents
Useful Websites
German Occupation
Bankruptcy Records
Historic Buildings Research Leaflet
The long term preservation and security of the records kept in the archives is highest priority. Since the Public Records (Jersey) Law was passed in 2002 the Jersey Archive has been the official repository for all archival records produced by public institutions. The Jersey Archive does also accept records from businesses, clubs, societies and individuals. These can be donated or deposited on long term long loan whereby ownership remains with the depositing person. Once catalogued, documents are carefully packed in acid free materials and stored in the correct environmental conditions.
Online Archive:
As well as collecting and preserving records the Archive is committed to making archives available to all members of the local and worldwide community. Records that are stored at Jersey Archive are catalogued staff and made available via the Archives and Collections Online to allow easier access to these documents for people who may not be able to physically get there. Their website allows you to search through the archives by entering a name, place or subject that is relevant to your research.
Photography in Archives:
Photography has a double role within archives, as most photographs in the archives today were likely taken by random members of the public, they can be viewed today to give a sense of what life was like, what Jersey looked like and of the people who have lived here in the past. This is important as it shows how the island truly was and gives us a pure insight into the Island’s history without any bias or other motive. Many images in the archive have also been taken by photographers and artists over the years. However, while these images are truthful and show the island in years previous, the artist or photographer likely had certain ideas or concepts which their photographs had to adhere to, thus creating a sense of falsehood if images were staged or taken with certain intentions.
For my A2 photography coursework, I will be studying the occupation of Jersey. The island came under Nazi occupation on 30th of June 1940 as the Channel Islands had been declared as a demilitarized zone by the British parliament. The German forces invaded the Island and Jersey remained under Nazi Occupation until the 9th of May 1945, when the island was liberated following the declaration of allied victory in Europe.
During the Occupation, The Nazis set about fortifying the island with bunkers and tunnels as a part of Hitler’s Atlantic wall. The Channel Islands were the most heavily fortified parts of the Atlantic wall, with the overall total of extracted rock from the island standing at 244,000 cubic feet, compared to 225,000 cubic feet for the whole of the rest of the Atlantic wall excluding the Channel Islands.
After Liberation, Almost all bunkers and fortifications were left standing as a reminder of the Islands past. Today these fortification still stand, 70 years on and are a common feature of the islands landscape. Many fortifications have been kept in good condition and preserved by the Channel Islands Occupation Society, whereas some minor buildings and fortifications have been left to nature.
The occupation itself has created a legacy for the Island in terms of the Islanders stories of occupation and many family ties to the occupation. My grandparents lived in the Island during the occupation,My grandmother lived in The island at the time in Valle des Vaux and my Grandfather lived at Janvrin Road. I have grown up being told stories of the war,such as the time my grandfather and a friend of his ran to a German bomber crash site and took bullets and souvenirs from the wreckage. My family are in possession of an authentic German bayonet that my grandfather stole from an officer who had left it on a low wall. I would like to locate this artifact and many others my family are in possession of and photograph them as a part of my project.
The Channel island were the only part of Britain to be occupied by the Germans during WW2. The island were occupied for about 5 years, from the 30th of June 1940 until their liberation on the 9th May 1945.
Life Under Occupation:
The German Occupation of Jersey began one week after the British government had demilitarized the island fearing for the safety of civilians should there be any conflict. The code name for this was “Operation Green Arrow” and the initial German Air Force reconnaissance flights mistake civilian farming lorries for troop carriers. On the 28th of June , the German Air Force, not knowing of the demilitarization, bomb and machine gun multiple sites on the island. The attacks killed ten people and wound many more. A few days later on the 1 of July 1940 General Richthofen, The Commander of the German Air Forces in Normandy, dropped an ultimatum from the air demanding the immediate surrender of the island. White flags and crosses were placed in prominent positions, as stipulated by the Germans, and later that day Jersey was occupied by air-borne troops under the command of Hauptmann Gussek.
Under the occupying forces, one of the greatest hardships was the lack of news from the mainland after the Germans had outlawed the use of crystal radio sets. A number of individuals risked imprisonment by making their own sets and spreading front line news. Horse drawn traffic became an increasingly regular sight as petrol shortages became severe, and many vehicles were converted to use gas. The price of bicycles rose, and their use was restricted to those connected to essential services. The German’s ordered all traffic to drive on the wrong side of the road. The island was also moved to Central European time. In the months following D-Day, as the Allies regained control of France, the source of supplies fueling the islands was now no longer available.
Shopping hours were reduced as goods became scarce. Food shortages on Jersey were finally relieved by the arrival of the Red Cross ship SS Vega, bringing food parcels to Jersey. Before then, substitutes had been used to replace everyday foods, with seawater replacing salt, for instance, and a mixture of parsnip and sugar beet replacing tea. During the autumn of 1944, fuel supplies were almost gone, leaving no gas, occasional electricity, and very little road fuel. Medical supplies were almost non-existent; and most people were without fuel. A Red Cross relief ship, the S S Vega, arrived in Jersey on 30 December with food parcels, and cases of salt, soap and medical supplies. The visits of the Red Cross ship S S Vega proved a lifeline to the starving islanders.
Victory on the Horizon
By 7 May 1945, the German army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe. In June 1944, the Normandy landings marked the initiation of ‘Operation Overlord’, the invasion of northwest Europe by the Allied forces. By 7 May 1945, the Germany army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe. Culminating on the 8 May, the Allied military powers had been busy coordinating the necessary steps, behind the scenes, to recover the Channel Islands from their occupation. On 3 May a British Military operation ‘Nestegg’, with the objective of liberating the Channel Islands, was set in motion when a coordinated group of British Army units, collectively known as ‘Force 135’, were called to ‘Stand To’.
On 8 May the units that made up Force 135 received their orders to move to their marshaling camps in Portsmouth. The main body of the Force was due to arrive in the islands on 12 May, however, a small contingent of Force 135, including their Commander, Brigadier AE Snow, left for the Channel Islands aboard HMS’ Bulldog and Beagle the morning of 8 May. Together with the units of Force 135, this first party consisted of a team of officials responsible for negotiating the terms of the Germans’ surrender. The front page of the Jersey Evening Post carried Jersey’s first confirmation of the Allies’ victory in Europe, and islanders were informed that Winston Churchill would broadcast the Nation’s first official announcement that afternoon at 3.00pm. Crowds began to gather at various locations to hear the announcement that would declare their liberation. Islanders waited patiently amidst the heavy air of expectation.
Liberation Day:
At 7:15am on 9 May, on the quarter deck of HMS Bulldog, Second-in-Command for Guernsey General Siegfried Heine signed the Instrument of Surrender on behalf of the German Command of the Channel Islands, effecting their capitulation. On completion of this, General Heine was then ordered to “immediately cause all German flags and ensigns now flying in the Channel Islands to be lowered”. At Midday an overjoyed Bailiff Coutanche accompanied a German delegation led by the island Commander, General Major Rudolf Wulf, aboard HMS Beagle anchored in St. Aubin’s bay, where the separate surrender of Jersey was to take place. Arriving at the same time in St. Helier’s harbor was a small naval inspection party sent to report on the health of the islanders, who were promptly overwhelmed by an enthusiastic crowd delighted at seeing their first liberators landing on Jersey soil.
The advanced landing party was dispatched to secure control of St. Helier and signal the liberation. Crowds greeted the liberating forces. Having wrestled their way through the hordes of celebrating locals, Lieutenant-Colonel WPA Robinson and his team eventually arrived at the Pomme d’Or; the pre-selected liberation HQ. On their arrival the swastika flag was ordered down from the hotel balcony and, at 3:40pm the Union Jack was hoisted, officially signaling the end of the occupation. At this the crowd broke into a passionate performance of the national anthem before the streams of cheers erupted. This time, it was the Germans who were ordered to fly the white flag. The task force included many Channel Islanders who were forced to leave in 1940, and one of them, Captain Hugh le Brocq, was given the honour of raising the Union Jack over Fort Regent. As the day of liberation drew on, the celebrations continued and islanders celebrated their freedom to be together.
