The Rohingya experience was a photography exhibition showcased around St Helier, Jersey from the 1st until the 14th of July. This consisted of photography boards strategically placed throughout the high street and most popular areas of town, with 26 images each taken by an extremely talented Rohingya refugee through a partnership named Rohingyatographer – a unique magazine showcasing images from the worlds largest refugee camp. Accommodating these images were QR codes which invited members of the public to scan and listen to the compelling story behind the photograph. The ideology behind this project was to reveal the truth behind one of the worlds most tormented and stateless populations, and indicate the tremendous resilience these people inhabit in their lives just to get through the day.

What is the Rohingya crisis?

For decades, the Rohingya people, a Muslim ethnic minority in Myanmar (specifically the Rakine State) which is a predominantly Buddhist country, have faced a horrifying amount of institutionalised discrimination such as being denied citizenship. These policies have been created by Myanmar’s government since the 1970s, compelling over a million of these people to flee their homes for the sake of refuge and peace. Due to this exiling, the Rohingya people have shown to be the worlds largest stateless population, with an estimated 3.5 million people dispersed worldwide due to this brutal discrimination. Even though the roots and history of the Rohingya people is present in Myanmar dating back centuries, their existence is not recognised by the government.

Already being depersonalised by the ignorance of the Myanmar government, the hardships continue for the Rohingya people. Various restrictions have been put into place on topics such as marriage, family planning, employment, education, religion and freedom of moment – for example Rohingya couples in the northern towns of Maungdaw and Buthidaung are restricted to only having two children.

The most significant exodus (migration) took place in August 2017 when large clashes broke out in the Rakine State, with the military mounting a brutal campaign which destroyed the homes of hundreds of Rohingya people in their villages and resulting in nearly 700,000 people having to evacuate this persecution to Bangladesh. Now, Cox’s Baza in Bangladesh is home to the worlds largest refugee camp, with 1.35 million people living there. This escape from unwarranted military persecution was the result of an attempted ethnic cleansing, one that consisted of widespread violence, attacks and the stripping of basic human rights. This genocide of the Rohingya people has resulted in the deaths of thousands, consisting of brutal forms of abuse and violence that is unimaginable.

Why?

This exhibition is one that is monumental and moving, having great importance in order to give visibility to this crisis. The intention behind this showcase is to provide a plaintive platform for the Rohingya people, from adults to children, to document the truth about their lives, in a raw and authentic way. This is extremely key in shifting the narrative from one of victimhood to a story of strength and tenacity through self-representation and advocacy. Photography has acted in a transformative way to illuminate the difficult experiences these people have gone through and emphasises their suffering and dignity. By doing things like this, charities such as the Jersey Overseas Aid have the ability to ease the unprecedented pain these people experience in their day to day lives by performing activities to positively impact health, hygiene, sanitation, nutrition and protection, both community-based and legally. I think it is really important that this exhibition has taken place in the busiest area on the island because it sparks a conversation about the need for change in Cox’s Baza and for these pressing issues to be addressed immediately, shedding light on the undergoing hope of the Rohingya people who has persevered for decades whilst living through this immense amount of violence. The way that photography can reveal the harsh realities that the Rohingya people are experiencing in this current moment is monumental because it spreads awareness about this crisis and can encourage advocacy and activism for this minority group who are struggling. Alongside this, it is eye-opening to the people of Jersey to realise the privileges that not only do we experience as an island, but the luckiness that economies such as the UK or USA experience and how much this is taken for granted. The visual element behind this experience is key because it means that members of the public get to actually see what these conditions are like instead of reading a piece of information to draw their own conclusions from, providing a more objective approach. Finally, the way that this exhibition has come from the Rohingya people’s own images makes the entire experience more compelling, captivating and moving because not only does it show Cox’s Baza from their own perspective but this would give them a sense of hope because this means that they are able to try to get away from this stressful situation and try to take their minds off of it through creative and artistic ways, giving them the opportunity to express themselves and try to find joy in a specific project.

I thought it would be really significant to involve this in my work through a blog post because not only does it provide more contextual elements into my work but it is something occurring in the world at the moment and is important to be aware of to try and help in any way.

Using InDesign, I created my picture stories to depict St Malo. I used these pre-sets:

This meant that my pages would be an A3 size with borders at the side. This made it easy for me to ensure my images worked well together and fit suitably on the page. As well as this, I could make sure that the small gaps between each image would be identical so that the picture story would look formal and structured. I began with 3 pages however I could add more by simply just using the pages button and creating more on he document to experiment.

To create my picture stories, I used the rectangle frame tool to create the size of the image I wanted to add:

Then I used the place button in the file section and selected an image:

Once I selected my image, I used the fitting button to make sure that the image fit proportionally inside of the frame, then afterwards I could move around the image to my liking. By doing this, it made sure the entire frame was filled and that as much detail was in it as possible.

After I had filled the page with the all the images that I wanted to include within that picture story, I could then use the rectangular framing tool once again and fill it with text depending on the context of the picture story and images in order to provide more information and detail on what it was about and the contents of the images featured.

MY PICTURE STORIES:

I created 7 different experimental picture stories, some in colour, black and white and with graphic design behind them. These are the picture stories before the writing within the captions in changed from placeholder text to mine. Once I was happy with the layout of each one, I either kept the placeholder text there or wrote some information about my images. In my picture story on ‘The Life Of St Malo’, I used google translate to add in some French words as I felt that it seemed more realistic.

I used my initial picture story as a template to build off of to create these two slightly different images. For the one below, I used the same rectangle frame tool as I did for my photos, however I laid it over the text I had written and filled it with a solid grey, then lowering the opacity to make my writing stand out bolder.

And for this one:

I used the polygon frame tool to create two hexagon shapes and right clicked each to send it behind my work and settled on a monotone colour scheme to make my work look more interesting as everything had been rectangular.

For the background on this one, I used an ombre effect to lighten the title and make it stand out in a bold way, whilst creating a gradient diagonally across the page.

For this background, I used a pastel yellow as yellow and orange tones were frequently shown in practically all of the images, however I didn’t want to make it too saturated as this would have been too bold and could have possibly distracted the viewer from the actual story taking place through the photographs.

For this picture story, I used the rectangle frame tool to create an opaque background of one of the small lanes I found in St Malo. Then, I used the polygon frame tool to depict a story of the heavy rain there was during my time in St Malo by using different images of people in the rain, structures and umbrellas. I chose not to add text onto this one as I felt that the images were able to carry and tell the story itself as well as the title.

Finally, in this picture story I used the same traditional layout for my images and text however, I used the same framing tool to create a red and blue rectangle in order to show the flag of France so my picture story was more cultural to France. Also, this meant that to those who are unaware of what/where St Malo is, this provides a more muted and simplistic explanation.

In my St Malo images, I wanted to try to experiment using the generative fill Ai tool in photoshop. With this, I wanted to try and show peoples impact on these more city-based stills, more specifically the heavy use of graffiti scattered around the town of St Malo and how teenagers may use this to make these areas feel like their own alongside the heavy ‘hustle and bustle’ and fast-paced lifestyle that the city life brings.

Unfortunately, this tool didn’t work effectively within my images as the people generated look unrealistic and out of place, sometimes not generating correctly either. Within this project I won’t be using Ai as I feel that this also takes away from the ideology behind the ‘decisive-moment’ as it adds a sense of falsity and doesn’t contribute to my perception of what I want to explore.

Graffiti:

Busyness within cities:

For this experimentation, I wanted to play around with different formats of presentation for my images, arranging them in different ways to usual:

PORTRAIT:

Original:

This removed any vacant space around the subject, making her the centre and appear closer to the camera.

Process..

LANDSCAPE:

Original:

Process…

PANORAMICS:

Vertical:

The process of each:

Horizontal:

The process of each:

SQUARE CROPPING:

The process:

CIRCLE CROPPING:

The process:

For this format of cropping, I used the elliptical marquee tool to select a circular outline of my image. I then inversed this selection and pressed delete to remove the entire background and keep what I selected. I put this onto a white square for the background so that the colour wouldn’t be disruptive of the image.

Afterwards, I went back into layer style and added a drop shadow, manoeuvring around with the angle, size, distance, and opacity I wanted. By doing so, this meant that the image looks more 3 dimensional and comes to life.

After using the circle crop, I wanted to experiment more with the different ways I could merge images using different cropping techniques.

I chose an image with red in the background to match the red illustrated on the subjects mug.

MULTI-CIRCLE/PORTHOLE CROP:

For this format, I decided to use a combination of 3 – 9 images and lay them onto another image. The process was the same as the circle cropping just more images are added.

Anonymity:

I chose images of people with their back turned away from the camera to create an image filled with anonymity and confidentiality, as if they are hiding away their identities, living in a small city where everybody knows everybody.

I added a slight drop shadow to each image to ensure that they didn’t blend into the background and still stood out to the viewer.

Relationships:

I really like the way that there are 3 images from 3 different perspectives – front, side and behind – because it’s as if the subject are turning slightly within each image. I turned up the saturation of the harbour of St Malo to make it more colourful and contrasting stronger to the black and white cropped images. I chose this for the background as it is a vitally historic aspect of the culture there so I felt that it was important to involve this too.

POLYGON CROPPING:

The process:

To create this, I firstly opened two versions of the same image, one in black and white and one in colour. I then cropped each image to get rid of blank space as this wouldn’t have contributed to the finished outcome of the polygon cropping as I was selecting small, triangular sections of detail to rearrange the structure of this building.

I did this in the same way as my circular cropping, using the inverse button on my selection so that I could pick out specific areas. However, I used the freehand selection tool as this allowed me to choose the height and width freely, while also using different features of the free transform button to stretch and distort the section I had created.

After this, I opened up another document of a black background in order to lay out the desired result, being able to rearrange them to fit into place with one another like a puzzle.

For this experimentation of my images from the St Malo shoot, I used partial inspiration from Stephanie Jung in addition to Henri-Cartier Bresson.

HER WORK:

Stephanie Jung is known as a fine art photographer who is based in Germany. Studying in Visual Communications until 2010, she discovered her passion for this experimental form of photography. Since 2012 she is working as a freelance photographer, focussing on fine art photography.

Stephanie Jung’s work is known to consist of cityscapes in a double exposure manner, either created through shooting multiple exposures directly within the camera or processing multiple images after in a combinative manner. I really wanted to create this effect experimentally with my St Malo images initially inspired by Henri-Cartier Bresson as I believe that these images symbolise the ‘hustle and bustle’ alongside the rapid pace of life within cities, with things consistently changing and people always moving.

MY IMAGES:

This is my favourite experimental piece using double exposure because I feel that all the images involved have worked very cohesively and I am really pleased with the outcome. I feel that this encapsulates many different parts of St Malo and ties all together nicely to show the culture.

First of all, I used my image of a graffitied alleyway and used colour selection to select only the large hot pink design as this was the main focal point and the most establishing piece of the image. I then created 2 layers of a low-shot building I took and reduced the opacity, flipping one version upside down and onto the right. I did this because I thought it would add a deeper texture and context of St Malo. I then opened up an image I took of an elderly woman conversing with a homeless man in a kind nature, used the quick selection tool (defining it using the Alt button) and imposed it into the image into the left corner as if it took placed within the alleyway.

The subjects within this image were taken as double exposure through a slow shutter speed within the camera, however I thought it would be appropriate to add this image into here. I created this by simply using the quick selection tool and selecting different subjects walking through the street and dragged them into the image, playing around with the sizing to make it appear more realistic and fit to scale. I chose to use this as my background image because not did I like the low angle I used, facing up towards the top of the building to make it appear as if it is towering over the camera – distorting the depth of the image – but I really liked the composition within in it. For example, a classic motorbike peeking out from another building’s corner alongside and old fashioned café placed ever-so-slightly behind, only just visible. Alongside this, I really liked the way the buildings gave off a rustic tone, looking old-fashioned and filled with memories, having flowers placed onto the windowsills. It looked like a location that would’ve been around many years ago, standing still in time.

For this image, I duplicated the layers and increased the tonality and saturation of one. I then arranged these into a distorted way to give the effect of a double exposure. Afterwards, all I had to do was duplicate each layer over again until I could create a mirrored reflection.

I think this worked really nicely as not only does it appear as if they are more people in the image, making it busier and more chaotic, but it adds vibrancy and volume to the image in a ‘bounced’ way.

Similarly:

For this image, I used the same technique of duplicating the layers and changing the tonality of one, then slightly shifting it. However, I then opened up a separate image of this couple in black and white. I used the quick selection tool as traced around them, using the Alt button to go back and make miniscule fixes. I then inversed the selection and cut them out, and brought them across onto my street image.

I think this worked really well because the contrasted shift between the neon colours adjacent to the black and white figures can be looked at as if they are frozen in time.

For this image, I made one layer monochrome whilst the other in a bright neon tonality because I felt that this would add a more urban edge to it, nodding to the bright graffiti fond through the alleyways within St Malo streamed across the grey walls. This was already a double exposure image due to the slow shutter speed used when it was taken, however I wanted to create it over the top in Photoshop as it makes it look even more chaotic. I particularly like the way the stop sign located towards the left hand sign of the image looks because it appears unusual and is completely wrong.

I used the same background I used on my second image and made the subjects in it appear more translucent as I felt this would add an ominous and almost ghostly effect.

For this experimentation, I used my image of a small boy on a carousel looking down at his pocket whilst he goes past. I duplicated this layer 3 times, making each layer less visible and a different scale of tonality. I arranged them placed slightly behind each other as I felt this would give a motion blur yet in the theme of a carousel, something associated with bright colours, music and happiness.

MOOD BOARD EXAMPLES:

This is a classic picture story taken from the ‘Nurse Midwife’, placing black and white images onto an off-white creamy background. However, picture stories can be created into a more modern format, for example:

ANALYSIS OF PICTURE STORIES:

I chose this picture story to analyse as I feel it works very cohesively due to the black and white, alongside the way many of the images are the same side down the edge, for example, as this ensures the images tell a continuous story and makes sense. Picture stories are laid out in an newspaper-styled/ magazine page structure. They typically consist of:

• A major establishing shot
• A person at work
• A detail shot
• Relationship shots
• Environmental shots
• Formal or informal images
• Observer shots

MAJOR ESTABLISHING SHOTS:

This is the largest image on the spread, the image which provides the most context about the article and can represent the story the best out of all the images. It should be the most eye-catching image within the structure to draw and entice the viewer in as this will be the largest part to catch eyes from a distance. In this case, this involved the candid nature of an older man playing the guitar in public. This would have been the major establishing shot due to this being the image most cohesive with the title – about the people of St Malo. Sat in the centre of the image, this becomes the main storyteller of the spread as it provides an insight into the life around the port of St Malo and the culture which inhabits it.

‘PERSON AT WORK’ SHOTS/ENVIRONMENTAL SHOTS:

This particular image on the picture story must consist of four different assets. These are ensuring the person can be seen, their actions are visible, the way they are doing it is visible and including the context of their surroundings (where they are carrying out their work). This leads the image to describe a story within itself and add more detail to the entirety of the topic that the picture story is based on. This can also be seen within the major establishing image through the use of the busker, this can be assumed that this may be his job or hobby.

DETAIL SHOTS:

These images are usually minor within the picture story, however it provides context to the location that it is based on. These are typically images that are zoomed in on small areas and sections, using a short depth of field to capture a specific part. For example, in the images of the St Malo trip, this could be an image of something native to France, such as directional signs or seagulls. This provides a subtle approach to the culture of the topic or location, usually in a format of being the smallest or one of the smallest images within the picture story. In this picture story, for example, this consisted of a cluster of birds on one of the many beaches of St Malo, showing how hundreds of them inhabit their coasts and are a part of the rich culture there.

RELATIONSHIP SHOTS:

Relationship shots are those consisting of two or more people engaging with one another, candidly or in a more formal way. The relationships shown within the image may be romantic, platonic, hateful or a way that boosts family relationships. Many emotions can be conveyed through the body language captured; jealousy, love, anger, sadness, happiness – the list is infinite. This adds a sense of humanity into the image as it portrays the experience of average, everyday human life in a raw or memorable way. In this example, a loving relationship can be seen in a way that has the absence of posing, sitting on the floor together and happy. Whilst this is a small image, it is still significant in a way as it tells a story about how life is within St Malo.

OBSERVER SHOTS:

Observer shots are those taken within the absence of posing – candidly and raw. This was the main ideology behind our trip to St Malo in inspiration of Henri-Cartier Bresson and his use of the ‘decisive-moment’. People within the image will be unaware of the shot as this means that emotion and actions can be captured in a more truthful, honest and genuine way. In this example, practically all of the images are observer shots however the actual ones show the culture of cycling within the town, the ambience of cafes and restaurants the regularity of busking throughout the streets and the continuous cycle of shopping. By shooting these images in a subtle way, it provides the viewer with a way to see the pace of life and how St Malo differs from many other places.

I used colour selection for some of my St Malo images, ones with people involving significant colours or were close to the camera. For each one, I wanted to ensure subtlety was involved as this way, it wouldn’t entirely draw attention away from the purpose or intention behind the photo. As well as this, it meant that there was still a bright pop of colour amongst the grey tones.

I also created this on a selection of hot pink graffiti as this is something that is frequently spotted around St Malo, becoming a part of the small town’s culture.

HOW I DID IT:

To complete this experimentation, I duplicated the layers of the same image to begin. I then made one layer black and white:

After I concealed the black and white layer, I selected the layer which was still in colour and went to colour range:

Here, I could select a variety of different tones and colours found in a specific area. By doing this, I would keep these colours saturated whilst the unselected components remained black and white:

After grabbing each tone of red on the woman’s jacket using the positive eyedropper, I inverted the layers so that the red jacket would pop out:

This was the final result once I rubbed out any imperfections picked up:

BACKGROUND:

Saint-Malo is a historic French port and town situated on the coast on Brittany, France. With its history of piracy and overseas adventures alongside being heavily bombed in 1944 during World War 2, the city is a popular tourist centre with its ferry terminal serving the Channel Islands of Jersey and Guernsey alongside the South of England such as Portsmouth, Poole and Hampshire. The population in 2017 was 46,097, however during the summer tourist season this can increase enormously – up to 300,000.

CONTACT SHEET:

Overall, our shoot consisted of just over 800 images of the town of Saint-Malo to show the city culture and pace of life. I flagged the images which I thought had the best composition, angle and detail. This photoshoot was inspired by the work of Henri-Cartier Bresson, using his concept of the decisive moment in candid street photography. I wanted to focus on photographing relationships with others, such as couples or friendships, with a aesthetically pleasing composition in the background, maintaining shape and balance throughout. I looked for locations filled with French culture, had leading lines such as long alleyways or just fit cohesively with the actions of the people in the backgrounds.

BEST IMAGES:

In this image, I captured an elderly woman conversing with a homeless man, sat around all his belongings. I really liked this image because it represents community and selflessness, checking up on someone instead of following society and idly walking by. The way her head is tilted towards the side shows empathy in the image and I feel that this adds a sense of genuinity that can be pushed towards the viewer.

For this image, I used a slow shutter speed, standing as still as possible and waiting for pedestrians to walk past me. This created a motion blur on just the people instead of making the entire image out of focus, making it a very successful image. I feel that this represents the face pace of which city life acts in, people always moving and doing something.

This image would have to be one of my favourites as the actions of the woman are very unusual and spontaneous. I liked how she was singular, acting in a way that may be judged or frowned upon by those in the background with umbrellas whilst she walks barefoot with her skateboard. Alongside that, I really liked the way the umbrellas look in the background because they add geometry to the image consistently following up the right side of the image to the left.

BLACK AND WHITE IMAGES:

I made my selection of images in black and white also to bring across the nature of Henri-Cartier Bresson’s images as his were usually portrayed in this way. I played around with the different tonal scales of the images as well as pre-sets to make the black richer or more greyscale, depending on the composition, colours and exposure being used at the time:

STRUCTURES:

I also took some images of the architecture based around the city as I feel that this shows the culture of the city and how can appear to be similar to Jersey whereas in reality it is quite different. This included some ancient and abandoned buildings however some were more urbanised:

“For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously… It is by economy of means that one arrives at simplicity of expression.“

MOOD BOARD:

INTRODUCTION:

Born in Chanteloup, Seine-et-Marne, in 1908, Cartier-Bresson was encapsulated and fascinated by painting, specifically Surrealism. In 1932, after spending a year in the Ivory Coast, Henri Cartier-Bresson discovered his lifelong passion for photography through his camera of choice – the Leica.  He had his first exhibition at the Julien Levy Gallery in New York in 1933 later making films with Jean Renoir.

Taken prisoner of war in 1940, he managed to escape on his third attempt in 1943 to then subsequently join an underground organization, assisting prisoners and escapees. In 1945, he photographed the Liberation of Paris with a group of professional journalists, then filmed the documentary Le Retour (The Return). This involved working closely with other artists such as Matisse, Bonnard, and Braque. After traveling for three years in the East, he returned to Europe in order to publish his first book – Images à la Sauvette (published in English as ‘The Decisive Moment’)

From 1968, he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Foundation Henri Cartier-Bresson in Paris for the preservation of his work.

Cartier-Bresson received an extraordinary number of prizes, awards, and honorary doctorates. He died at his home in Provence on August 3, 2004, a few weeks short of his 96th birthday.

THE DECISIVE MOMENT:

Henri Cartier-Bresson is now known as a French artist, humanist, filmmaker and a large role-model and master of candid photography. He pioneered the genre of street photography through this technique and viewed photography as capturing a decisive moment – an intuitive and spontaneous moment to capture an image that shows unity in comparison to other photographers who tend to look for horror. He approached photography like it was hunting without killing, seeking out the perfect moment.

His images relied heavily on the strong relationship with shape and geometry in a raw way, absent of posing, in order to act as a form of intellectual pleasure. He looked with his heart to make all elements of reality align perfectly, representing what joins us as a society instead of the things that tear us apart. By doing this, he represented the rich diversity of the USA by capturing the expressive snapshots of people from all walks of life. Through this ideology of every aspect of the image being unplanned, Henri Cartier-Bresson used his Leica as if it was an extension of his eye, capturing these wholesome moments as if he was blinking.

ANALYSIS:

This image, ‘Derriere la Gare Saint-Lazare’, is a perfect example of Henri Cartier-Bresson’s decisive moment of street photography, having all pieces of an image constructed into a singular moment with the absence of posing. Using his 35mm Leica, the shoot into the daylight involves a slow shutter speed in order to create a motion blur in the air of the figure leaping across a puddle. The shadows and reflections created make it clear that this image was shot facing towards the light to ensure they balance towards the foreground, in front of any subjects or objects. Alongside this, these reflections and shadows bring the image to life by making it stand out, looking more 3 dimensional. The image being in black and white makes the image blend together cohesively; bringing attention to the sign in the background indicating that this was located by a railway. As well as this, the black and white creates a greater contrast and tonal range within the image, making it look more dramatic and dynamic. The subject is in one third of the image off to the right, revealing a second in the background further away. The fog placed at the top of the image is looming over the houses in a quiet way, adding a tone of mystery and gloom, working with the grain washed over the image.

I made a virtual gallery for each theme I have explored within the Anthropocene:

INDUSTRIALISATION:

OVERPOPULATION & URBANISATION:

(AI DEPICTIONS)

CONSTRUCTION:

ST SAVIOURS HOSPITAL:

DERELICT GREENHOUSES:

WATER POLLUTION:

The images I’ve selected are the ones I am using for my final prints as I feel that these are the most successful from my five photoshoots.

EVALUATION & CRITIQUE:

Overall, I think that I explored the theme of landscape in a thorough way however I think I was able to really develop and get creative within Anthropocene as I could experiment and investigate different environmental issues within it. I found that my research on the Anthropocene for context really helped me explore different factors contributing to climate change, especially using the work of George Marazakis and Edward Burtynsky to aid my understanding. I feel that my final images that I have produced not only apply to the Anthropocene in a detailed way but I think that they share awareness of issues within the environment that are ignored and looked upon nonchalantly. I chose to keep these images in colour as I find that it depicts these issues in a more realistic and relevant way, making each image tell a story and create a nice composition. My intentions for each photoshoot were successfully shown and correlate with my artist references; my depictions of derelict greenhouses inspired by George Marazakis alongside industrialisation inspired by Bernd and Hilla Becher as well as Joe Deal. Whilst I enjoyed taking images of different aspects of the landscape, I like the way I have been able to use plastic to create an illusion of waves for water pollution as I could represent this in a way that I came up with entirely on my own and could freely experiment with. The next steps I would take if I repeated this theme would be to use black and white tones in some of my images to give my work some variance. As well as this, I would have liked my idea of recreating George Marazakis image of the greenhouse with artificial lighting next to natural lighting to have worked. I attempted to set up a photoshoot in this way using coloured gels however I couldn’t find a suitable location for this around the island so it couldn’t work.