During the early 19th century, Saint Helier Harbour was constructed becoming the main Harbour in Jersey Channel Islands. Located on the South coast of Jersey, the harbour has three main marinas holding private yatchs, drying habours, commercial havbours, as well as a dock for cargo ships.
What is now called the English Harbour and French Harbour, was where ships used to come into the town. Then the Chambour of Commerce urged the States to build a new updated harbour, however they refused which resulted in them building it themselves in 1790. Merchants began constructing roads leading from the harbour to the town in 1814, now known as Commercial Buildings and Le Quai des Merchands. Construction later finished in 1832 on the sea wall at the Esplanade. Shipping expanded rapidly, which led to States of Jersey building two new piers; Victoria and Albert Pier.
Main Harbour – This is for commercial vessels, located alongside Victoria Quay and New North Quay.
Elizabeth Harbour – Now used as a Ferry terminal: ferries to and from Saint Malo, Guernsey, Portsmouth and Sark.
La Collette Yacht Basin Marina, Saint Helier Marina and Elizabeth Marina was build in 1980, now home to Jersey’s Commercial Fishing Fleet.
The channel islands were separated from mainland Europe, due to rising sea levels in the Neolithic period. After maritime activity began, they desperately needed start trading so over time they became more advanced, built up skills, started earning money and investing capital in maritime businesses.
Roman hoards had later been discovered, however people were unsure of the reason for being on Jersey. Evidence of Roman settlements on the Island show intricate trading networks.
1950 in Canada, After Charles Robins arrival permanent fishing stations were established, having had a com-mission he was given the privilege of trading cod/ other types fish.
What was the involvement of Jersey mariners in the Canadian cod-fisheries and the Transatlantic carrying trade?
Between the 15th to the 18th century, technical and navigation improvements were made enabling ships to have the ability to sail out of sight from land for days. This meant that trade could increase across the channel, and so became involved in the Canadian cod-fisheries. Cod Merchants from Britain were beginning to set up fisheries on the Gaspe coast. The islands were given concessions which were then traded, including dried cod from Newfoundland and Gaspe coast, cloth, wine, wool, leather and household goods.
Jersey’s maritime history of trade and cod triangle links with South America, Newfoundland and Gaspe. Trading mahogany and cod reveal toe between Jersey and the transatlantic slave trade.
Which ports did Jersey ships sail to and trade with?& What type of goods did Jersey merchants exchange for cod-fish?
Jersey cod merchants traded cod across the channel, where the islands were given concessions.
Jersey Merchants were heavily involved in the Atlantic trade, otherwise known as the ‘merchant triangle.’ They traded with concessions such as agricultural or manufactured goods/ products, in which were exchanged in the British Empire, as well as other European colonies in the Caribbean, South America and the Mediterranean.
In the 18th century Charles Robins was one of Jersey’s premier cod-merchants, who later formed markets in Canada, producing two types of cod suitable for where they were later exported too.
Salted cod otherwise known as ‘green’ cod was more ideal for selling on the markets in the Caribbean or North East Brazil as this was fresher which was a shorter run in the triangular Atlantic trade. This type was now called ‘West India Fish,’ which was sold to planters to then feed to its enslaved populations in hope to increase the productivity in the plantations, as it was protein rich. In exchange, Robin would load his ship with plantation produce such as sugar, rum, molasses, cotton, coffee and tobacco before sailing across on the third leg of the Atlantic triangular trade route to the Mediterranean, England and Jersey.
Dry-cured cod, also known as ‘yellow’ was marketed as a premier product and sold to markets in Europe, such as Portugal, Spain and Italy, with their large Roman Catholic populations, fish was in great demand. From ports in Lisbon, Cadiz and Naples merchants traded cod-fish for other products such as salt (used in the curing process), wine, spirits, fruits and spices which they brought back to Jersey and British ports before returning to Canada.
For this picture story, I really like the contrast between the black and white image and the coloured image, I think this is a really effective and engaging layout. These are two formal portraits, showing you their profession as there in there uniforms, and their difference in expressions which could imply how they feel about their job. At first, you would assume the image was the same but only in colour, however you notice its a different image on the right, giving you a different story.
Using photoshop, I thought it would be interesting to explore making the subject stand out as I had originally liked both black and white versions, so I made the subjects in colour whilst still having a black and white background. This overall created a unique contrasted background.
Using Lightroom, I experimented cropping my final photos that I had edited in different ways which showed different and unique views of the final photo. From this I could duplicate the photo and crop it down to various people which I thought could be an interesting concept to explore.
Henri Cartier Bresson was one of the greatest street photographers of all time, viewing the camera as an extension of the eye, capturing things in the decisive moment. This approach connects humanity and is like as an extension of the eye, hunting for the perfect photo. He captures from various angles, which creates the perfect candid photo which doesn’t alter reality.
Bresson grew up in a wealthy part of France, so was introduced to the art at an early age. What initially caught his eye was paintings, which then inspired him to look at photography, as he found this was an extension of drawing and an extension of the eye.
He began to explore using a camera which he thought was a unique way of interacting with the world. Shortly after he became well know for using a specific type of camera called Leica 35 mm rangefinder camera, that was fitted with a normal 50m lens or occasionally a wide angle lens for capturing landscapes, often fitting black tape around the cameras which would make it less conspicuous. Using black and white film and sharp lenses, he was able to capture events un noticed.
Bresson composted his photos in the view finder, rather than using a darkroom, which was used to develop photos controlling the light carefully, stopping the pictures from becoming over exposed in this process. This was the reason he used a 35mm film, which didn’t make specific adjustments to the photo, instead giving spontaneity to the image emphasising the decisive moment in the image.
Bresson specifically used a Leica 35 mm rangefinder camera which was smaller and quieter, allowing him to subtly capture the decisive moment which allowed him to use a quick and unobtrusive style of shooting. This important style allowed him have a quick and effective way of capturing the decisive moment, without being too obvious.
When shooting his photos, he captured people as they were relying on his eye to capture the perfect moment, while staying virtually unseen and in the background enabling him to capture the right candid photo . This became effective, as shooting from the background using a smaller lensed camera meant he was unnoticeable.
What is the physical pleasure in making photographs?
Capturing the perfect composition of the decisive moment was very important. Henri Cartier Bresson viewed his work as a ‘sensual pleasure’ to see shapes and geometry, as these elements were arranged along with human subjects. When taking his photos, he looked for specific details other than the subject in the perfect moment, such as lines, triangles, squares, shadows, curves and shapes.
Bresson stood by the rule of “Get it right in camera!” meaning he never cropped his photos, as he preferred to actually get close enough and at the perfect angle when shooting his photos.
How can photography be liken to hunting?
Bresson described his style of photo shooting as ‘hunting’. This meant that he carefully and precisely looked for the right moment to take his photos.
Overall, I think my work related closely to Anthropocene as I communicated this through the use of different techniques that interested me from Edward Burtnysky and George Marazakis. Each artist inspired me differently as they were very different in how they portrayed their message. This was what I liked about both, as I could explore from different views and thought processes in order to create my response.
Edward Burtnysky
Burtnyskly explored more the infrastructure and industry side, capturing in abstract ways, which acts as a straight up message, as you don’t have to look for the message he wants to tell you, instead it there, right in front of you. His technique is very much giving you the straight up, real view, wanting you to see for what it is, in other words not sugar coating disasters that are happening all around us.
In response, I used unique perspectives to achieve this look which showed the abstract and detailed look I was going for. I visited Val De La Mere reservoir as this showed a unique contrast between natural and industrial infrastructure. From capturing different views along the reservoir gave interesting perspectives look at giving a stronger message.
George Marazakis
For this photoshoot, I enjoyed looking at Marazakis work and the unique techniques he uses which overall created an interesting ‘subtle’ message. This different, but effective way of communicating messages that overall has a big impact on our world. I found creating photos in this way showed different views engaging you in different ways. This closely links to Anthropocene because this unique way shows us humans impact on the world, allowing you to see from different angles things happening.
This photograph shows the close connection and relation between the humans impact on earth and nature itself. Firstly, I admired how the cliff-paths continuously change direction, leading you off into the far distance which creates an interesting depth to the photo. It subtly shows how humans have impacted earth, not necessarily displaying bad things but subtly showing you minor changes like this, which makes you think of this on a larger scale, perhaps being more aware of your surroundings. I like how the paths leads you off into the distance, allowing you to notice changes in scenery as you notice more of the changes made inland, from fields to housing developments.
In comparison to Marazakis’s work you can see how he shows you scenes which make you question his intentions behind the message he wants to communicate to you. As you can see, from looking at my work I have tried to create this effect using similar intentions and techniques, from choice of scenery to editing. Marazakis takes his photos in certain conditions in order for you to feel the message. In response I captured my photos early morning and very slightly edited the contrast in shadows.
For this photoshoot, I went to Sorrel point as I thought this would show an interesting comparison, how humans have made subtle impacts on earth. I was really inspired by Marazakis how he ‘subtly’ portrays this effect. As the real meaning behind this is engaging with the audience and figuring out what his message is about.
