At the maritime museum and along the harbour I took a total of 554 images and I flagged it down to 152 of the best images I took.

After I went through the images I flagged as my favourite I then narrowed it down again and then selected the ones that I will edit and coloured them green.

Final Edits

I have chosen to group these images because they go together well as they all have boats and the sea in each of their images. I chose to edit these in black and white because they look older, especially the first one where the boats are propped on wooden beams. The last and biggest image is of three boats with buildings in the background. The perspective is like your at sea looking onto land which I liked compared to my other images where it looks like you are on land looking out to sea.

In these images are the lockers for fishermen. The first image was taken in the French harbour and the other two of these are taken nearer at the English harbour. I decided to keep these in colour as I liked the way the red looked with the original rusty colour of the area.

These images are the same as the ones above but I decided to experiment with the colour tools on Lightroom. To do this I went to the saturation section and turned all the colours down to -100 and kept the red at 0 or turned it up a bit more as it is the main colour in the pictures to make it stand out.

These two images I chose to pair together is because they are both of people at work. These two images correspond together well because all the people are working with fish at the harbour. I edited both of these in black and white and made both images darker where blacks are more prominent than whites. I chose to edit it this way so there was clear definition in each image and I liked the way the black and white looked in the working environment.

For these images I chose to experiment on Lightroom. I took these of a fishing boat at the harbour. I edited these images in black and white apart from the green popping out on the boat and around the image. To do this I went on Lightroom and turned the saturation down on all colours apart from green. I chose green as the only colour in this photo as it was the most prominent and eye-catching colour in the original, unedited image.

I started off with 60 pictures in total of and around the harbour.

After I flagged the pictures I liked I had 40 pictures remaining I then rated my images and edit them from that selection.

Edits

I edited these images in a similar way so that I could combine them all together. They all have a similar vibe for example I edited the water so the images are all the same shade of dark blue or green and the sky appearing moody. The top three images all feature boats ,centred in the middle, and so they complement each other well. The main image I have selected is of the pier with no boats in the image, I chose this as my main image because it is different from the other three where there are no boats just the pier making it feel dark.

For this selection of images I chose two wall art images along one of the piers at the harbour and one image of a seagull. I edited these in black and white as I liked the way each photo contrasted with each other. I turned up texture and clarity slightly to show more details in the wall art images. For the main image I have chosen this picture of a seagull. I cropped the image so that it was centred and in the middle. I turned down clarity and texture and turned up shadows and blacks to make it look less emphasised and more like a shadow. The overcast sky in each of these pictures creates a nice contrast with each subject.

Harbour History

Before 1700 St Helier had no decent harbour although a map of 1545 does show two stone piers in the area under Le Mont de la Ville, near where South Pier is today. The modern harbour dates back to the construction of the stone fronted quay at La Folie in the early 1700s.

So it was to St Aubin that the States turned when the demand for a harbour could no longer be ignored, and during the 17th century this certainly became the island’s principal port, where vessels headed to and from the cod fisheries on the Canadian coast would moor, alongside cargo vessels and privateers and their captures.

It was not a convenient location, however, because the berths dried out at low water, and there was no road to St Helier, which was still the island’s main town and marketplace. Cargoes had to be transported across the long beach from St Aubin to St Helier by horse and cart.

In 1790 work started on a new northern pier, known as the North Quay, and later the New North Quay, but it would be 25 years before it was completed.

There have been a number of 20th century developments. The tanker berth was built to allow tankers to offload fuel and oil supplies near to the fuel farm. It is also the outermost part (at the southern edge) of the harbour. Further north, La Collette Yacht Basin backs onto the Victoria Pier, and provides a deep-water harbour for leisure craft. Nearby is the area for the fishing fleet.

It was the 1980s when the Elizabeth Harbour, with its new terminal building for passengers, and separate freight area, was planned. It was opened by the Queen in 1989.

Mood Board

What was the involvement of Jersey mariners in the Canadian cod-fisheries and the Transatlantic carrying trade?

When the first Europeans reached Canada is unclear, but it is thought to be Italian explorer John Cabot’s descriptions of ‘new found landes’ and a sea swarming with fish in 1497 that drew fishermen to the north of the continent, and around 1600 English fishing captains still reported cod shoals 

By the beginning of the 16th-century Basque fishermen were travelling to the region to fish and, by 1580, around 10,000 European fishermen were making the transatlantic voyage to the area each year to fish for cod.

Channel Island fishermen were among these and by the 1750s they had set up lucrative trade routes between Canada, Europe and America, establishing bases on the Gaspé Coast where they could salt and prepare the cod. 

Which ports did Jersey ships sail to and trade with?

A concerted effort to build harbours did not take off until the late 17th century, when work began on building a pier on the islet on which St Aubin’s fort stands. During the 18th century St Aubin’s harbour proper was constructed and work began on developing St Helier as a port, although the capital had to wait until the 19th century before it really began to develop as a port.

It was during the early 19th century that stone piers were built at La Rocque, Bouley Bay, Rozel and Gorey, to accommodate the oyster boats. The harbour at Gorey also took passenger traffic from Normandy. The primary purpose of these harbours was the movement of cargoes and not people.

What type of goods did Jersey merchants exchange for cod-fish?

Jersey cod-merchants also exported cod-fish to British colonies in the West Indies and later Brazil too in exchange for plantation goods, such as sugar, molasses, rum, cotton, coffee and tobacco which it brought to markets in America, Europe and the UK (inc. Jersey). Within that context Jersey benefitted from the profits made in the British Empire build on a capitalist model of a slave-based economy.

To what extend, has the island of Jersey benefitted from its constitutional relationship with Britain and the legacies of colonialism based on a slave plantation economy during the first Industrial Revolution (1760-1840)?

 By the 1770s there may have been up to 70 Jersey ships and 2,000 Jerseymen engaged in the cod trade. By the 1840s it is estimated that the industry directly employed 4,000 people. Also, many others were engaged in manufacturing goods to be exported to the Canadian settlements. https://www.policy.je/papers/jerseys-history

Design 1

This was my first design I made but I didn’t like the way the three images on the side looked in a row because I thought it was too squished and if I put the filling writing in it would be a lot going on in one place and be boring to look at because everything is set out for you and it wouldn’t make you look around.

This is my final look the page spread I chose the to use the pictures that I took in Edinburgh. I edited these images originally on Lightroom to edit each image slightly before moving onto photoshop. On photoshop I used the same coloured filter on each image called ‘Septa’. I chose this filter because I thought it looked old and vintage and I took these pictures in the Old Town in Edinburgh so I thought it matched well. After I selected the filter I wanted I outlined each of the most prominent thing in the image and kept them in colour, the main accent colour in the page spread was blue. I then went on InDesign and created the page spread. I picked the big main image as a woman posing for a picture with a church/cathedral in the background. The image underneath is of a man in a blue tracksuit which goes with the blue in the big main image. The rest of the images are smaller on the side going down in a zig zag pattern. I chose to lay it out this way because I liked the way it goes with the writing next to each image.

Design 2

For this page spread I mixed pictures that I took in Paris and Edinburgh together. I chose to mix these two together as the ‘old’ vibe was still carried through in Each city. On my first attempt for this design I chose no text and three images but I didnt like the way the three images looked squashed together so I decided to use one less image and spread out the right two images from the others instead of all being joint together and put filler text in the fill the space where the other image was.

For my final images I went for Black and White as the main theme. I chose this because of the structures I was taking photos of were mainly old and looked best in black and white.

Decisive Moment

For these pictures I chose to put filters over them and selected the thing that stood out the most in each image (people) and I kept them in colour so there was a nice contrast of dark filters and a pop of colour.

Cropping and Removing on Photoshop

Henri Cartier-Bresson was a French artist and humanist photographer considered a master of candid photography, and an early user of 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. 

He studied painting when he was just 5 years old, taking an apprenticeship in his uncle Louis’ studio. Cartier-Bresson was introduced to oil painting by his uncle Louis, a gifted painter and winner of the Prix de Rome in 1910. But his painting lessons were cut short when uncle Louis was killed in World War I.

The Decisive Moment

In 1952, Cartier-Bresson published his book The Decisive Moment. Cartier-Bresson took his keynote text from Volume 2 of the Memoirs of 17th century Cardinal De Ritz “There is nothing in this world that does not have a decisive moment”. Cartier-Bresson applied this to his photographic style. He said: To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.

“Photography is not like painting. There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.”

Cartier-Bresson’s photography took him to many places, including China, Mexico, Canada, the United States, India, Japan, Portugal and the Soviet Union. While traveling in China in 1958, Cartier-Bresson documented the construction of the Ming Tombs Reservoir He became the first Western photographer to photograph “freely” in the post-war Soviet Union.

Technique

Cartier-Bresson almost always used a Leica 35 mm rangefinder camera fitted with a normal 50 mm lens, or occasionally a wide-angle lens for landscapes. He often wrapped black tape around the camera’s chrome body to make it less conspicuous. With fast black and white film and sharp lenses, he was able to photograph events unnoticed.

He never photographed with flash, a practice he saw as “impolite…like coming to a concert with a pistol in your hand.”

He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. He insisted that his prints be left uncropped so as to include a few millimetres of the unexposed negative around the image area, resulting in a black frame around the developed picture.

He worked exclusively in black and white, other than a few experiments in colour. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an “instant drawing”. Technical aspects of photography were valid for him only where they allowed him to express what he saw.

Image Analysis

This image was taken 1954. The decisive moment is the boy with two wine bottles in each of his arms. The boy’s face expresses happiness and a cheeky smile, In the background you see more children looking at the boy and it seems like he knows they are looking because he has his head held high a proud smirk on his face. The image is solely focussed on the boy in the middle so you can’t tell if there are any adults around or with the other children in the background. The boy’s name was Michel Gabriel and when he grew up he kept in touch with Henri Cartier-Bresson.

My photos are in order of my favourite images and final results from the typography and Anthropocene topic. For all the images in the galleries I made, I added perspective to each and distorted them to make them the right shape for the perspective. This made sure that all the images where correctly placed against the walls where they are on the side or at an angle. I added drop shadows to make it look like they are mounted against the wall for a more realistic look. I used different galleries for each theme. Where I have more final images than the other I used a more strategic gallery where I can fit more images into it, for example typography has the most final images so I went with a more spacious and complex design that has the most area to put images so I could fit all my chosen images in. However, my Anthropocene gallery is square shaped as I did not have many final images so I went with a gallery that would be easy to fill without it looking underwhelming compared to my typography gallery.

Typography + Anthropocene Gallery

Typography Gallery

Anthropocene Gallery

Typography Final Images

Anthropocene Final Images

Experimenting with Images + Final Photos