This was inspired by café culture in St Malo.

This is the title

This is the text I have put and it explains café culture in France.

This is my first image and it shows one café that I liked.

This is my second image and it shows an ice scream parlour in St Malo.

This is my third image and it shows a different side to café culture in France.

This is my fourth image and this was taken from a café.

This is my fifth image and this is were the workmen are paining a café.

This is my sixth image and there is a server giving drinks to people.

This is my seventh image and it shows a server taking someone’s order.

This is the final picture story.

I love the black and white detail in this picture story.

Saint-Malo is a historic French port in Ille et Vilaine, Brittany. The walled city on the English Channel coast had a long history of piracy, earning wealth from local extortion and overseas adventures. In 1944, the United Nations heavily bombed Saint Malo. The city later changed into a popular tourist centre, with a ferry terminal serving the Channel Islands and the Southern English settlements. It is situated on the English Channel and on the right bank of the Rance River. The old walled city stands on a granite islet that is joined to the mainland by an ancient causeway and an avenue bridging the inner harbour. The island was not substantially inhabited until the 8th century, when the surrounding population sought refuge there from the Normans. The town was 75% destroyed during World War II but has since been rebuilt.

Contact Sheet and Image Selection

During my time in Saint Malo, I took a variety of photographs of people in the area and along the streets of the town. The approach I took to this project personally was to an adopt a way of photographing similar to Henri Cartier-Bresson in the sense that I used a discreet camera and technique to capture these moments. I overall wanted more candid results of people just plainly living their life and going throughout their days; not knowing, for the most part, their pictures were being taken. I attempted to capture a wide range of images in terms of format with landscape and portrait photos and busy compositions as well as more subject focused shots. This overall allows me to categorise my photos after refinement and present them in complementary ways along side each other.

Edits and Successful Images

For this selection of image, I primarily focused on giving myself a variety of options in terms of where I wanted to take my project with presentation. I did some subtle edits for clarity and contrast as well as editing ratios and cropping. This overall just helped me to see what I am working with, having access to a wide log of generally adjusted and technically balanced images.

While Editing

While going through my images, I noticed some pictures would be more valuable in colour due to their natural vibrancy while others were quite lacking in saturation and would benefit from creative edits. My picture of a young boy is something I noticed this with. In attempt to bring out tone and texture to make the image more effective, I flipped through the photoshop pre-sets under black and white and selected one to use on the image. The filter I found to be most successfully was one with elements of visual noise and a slight sepia tone. This grain and colour cast gave the image a vintage-like effect with I believe to be highly effective with this image type and in context of street photography.

I believe this picture is a key example of the success and approach of my photographs compositionally. As seen by the grid, this image features intentional use of the rule of thirds with is something a heavily considered when taking my photos; showing all elements balanced in the photograph. The people, the main subjects of the image, are central in the picture with a shop taking up the left third of the image. On the right third, a sense of depth is created with other people far in the background and further buildings in the distance. The leading lines of the pavement highlight this, drawing viewers eyes to the continuous nature of the photograph, overall helping to create an effective and visually compelling image.

With many of my pictures having noticeable colour and vibrancy from setting and clothes, I decided to experiment with this fact by utilising the selective colour tool on Photoshop Lightroom. With this image in particular, I noticed many sections of the photograph shared a similar tone of orange with is something I thought to attempt to bring attention too. Using a brush with the saturation turned fully down, I drew over the background of the image and any areas I no longer wished to be in colour; carefully avoiding that in orange. This overall left the dog’s spots, the man’s top and the women’s hair in shoes in colour. Despite the interesting process and outcome, I do not believe this is something I will continue to develop with my photos as I personally think that this creative and unnatural type of editing takes away from the rawness and authenticity of the street photography genre.

Virtual Gallery with Final Images

For this display of images, I decided to take inspiration from William Kleins photography. In my editing, I utilised visual noise and grain to create images similar to his in terms of their appearance with their harsh and raw aesthetic. I looked at expression throughout my photographs which ended up being a decisive factor for choosing which photographs to use this presentation for. I also considered which images would also fit well together as a collection, selecting those with a variety of similarities and differences in format and representation that would aid a creation of an effective layout. I think this combination of Klein’s technical style and Cartier-Bresson’s position on picture taking works well in unison throughout my work, allowing me to have a unique yet traditional approach to street photography.

Mood Board

Analysis and Deconstruction

Picture Story Process

I created three various arrangements of my photographs for potential picture stories, some with less or more photos and different scales. I focused on showcasing specific photos more than others in each of my compositions; seeing which pictures would be more effective in the spotlight. Considering traditional photo story expectations with my layouts, I ensured that I had featured detail, relationship, establishing and other shots within my work.

After establishing options for my picture layout, I filled the areas I left blank with text as well as a heading to balance out the image to text ratio. This also helps include more elements from traditional picture stories into my work. To separate these two, I surrounded them in colour blocks to add a pop of creativity and colour to my work. These two colours were selected using the colour picker tool from areas of whichever composition the blocks were displayed on in order to keep a house style and consistency throughout my work. The text font I decided on is bold and black, chosen to be easily readable without taking away attention from the images.

Final Picture Story

For my final design which I later printed out in A3 and mounted on a foam board, I settled on this composition. I came to the conclusion that this was overall the most successful of my options due to the elements ratios and overall balance of the layout. The largest picture presented is an establishing shot while I have also included many relationship shots and other portrait types which are all key components of successful picture stories. I believe the colours are harmonious with eachother and I am happy with the simplicity yet effectiveness of this design.

-Inspired by Stephen Shore

Mood Board

Examples of Stephen Shores Images:

Photoshoot Plan: New Topographics Inspired by Stephen Shore

Concept:
The photoshoot will focus on capturing the theme of urban and suburban spaces in their most mundane, untouched form. Drawing inspiration from Stephen Shore’s work, particularly his exploration of empty and often overlooked places such as car parks, empty garages, and other man-made landscapes, the goal is to document these spaces with a sense of neutrality, evoking a feeling of detachment and observation. The photographs will highlight the ordinary, unromanticised side of urban life.

Location Ideas:

1. Empty Car Parks: Look for large, open car parks that are devoid of cars. The empty spaces, lines, and surrounding environment will help evoke the sense of isolation often seen in Shore’s photographs.
2. Empty Garages: Industrial or residential garages that are empty and perhaps slightly worn-down, showing traces of human use without any actual human presence.
3. Abandoned Buildings or Industrial Spaces: If accessible, these types of locations can also serve as great spaces to capture large, empty areas with elements of decay or wear.
4. Suburban Streets or Pavements: Capture empty roads, curbs, or pavements that represent quiet, everyday suburban life.

1. Human-Altered Landscapes

The New Topographics movement is focused on showcasing how landscapes have been changed by human activity, whether through urban expansion, industrialisation, or suburban growth. For my photoshoot, I’ve chosen to focus on spaces like empty car parks and garages, which are clear examples of environments shaped by human use.

These spaces are often overlooked, yet when they’re uninhabited, they take on new meaning. The human impact is evident, but the people themselves are absent. This reflects the New Topographics approach of documenting landscapes that are transformed by human hands, without idealising them. These spaces—though simple and ordinary—serve as a reflection of how humans have reshaped their environment, making them an ideal subject for this project.

2. Neutral Style

Stephen Shore, an influential figure in the New Topographics movement, adopted a detached, observational style, steering clear of romanticising his subjects. He approached his photography as an observer rather than a storyteller, and I plan to use a similar approach.

• I will be using wide-angle shots to highlight the scale and emptiness of these spaces, allowing the viewer to experience them as they are, without exaggeration or distortion.
• My focus will be on neutral colours, such as muted greys, faded parking lines, and the subtle tones of concrete. This avoids any dramatic colouring, staying true to the unembellished aesthetic associated with New Topographics photography.
• By concentrating on empty, mundane spaces like car parks and garages, I aim to achieve a documentary-like quality. The absence of human figures in these settings emphasises the detached, observational style, which is a key characteristic of Shore’s work.

3. Suburban Development

The New Topographics photographers were concerned with how human development—specifically suburban growth and industrialisation—was altering the landscape. My photoshoot ties into this theme by exploring the quieter, often unnoticed aspects of urban and suburban life.

By capturing spaces like car parks and garages, I am focusing on environments that have been significantly shaped by modern development but are often overlooked. These spaces may appear unremarkable, but they reflect the larger trend of human intervention in the landscape, a topic that was central to the New Topographics movement. I aim to subtly highlight how everyday spaces are products of the growing influence of urbanisation and suburban sprawl.

4. Sense of Detachment

A defining feature of New Topographics photography is its emotional neutrality. Photographers like Shore sought to portray landscapes without evoking strong feelings or making dramatic statements. They simply observed and captured the world around them, allowing the viewer to form their own interpretations.

For my photoshoot, I plan to adopt a similar approach by focusing on empty spaces such as car parks and garages. These places, typically associated with human activity, will be devoid of people, creating a sense of stillness and detachment.

This lack of human presence invites the viewer to engage with the space itself, rather than the people who might typically occupy it. The emptiness encourages reflection on the environment in its raw state, without imposing any emotional bias. This aligns with the New Topographics approach of presenting the landscape in its simplest form without sentimentality or nostalgia.

Styling & Composition:

• Focus on Symmetry: As Stephen Shore often uses formal compositions, ensure your framing is centred and balanced. This can mean straight lines in the foreground, like parking spaces or road markings, leading the viewer’s eye through the image.
• Neutral and Cool Tones: While Stephen Shore is known for his use of vibrant colour, aim for a somewhat neutral colour palette to emphasise the emptiness of these places. Aim for soft or muted tones (grey parking lines, pale concrete, and washed-out colours) to give a sense of stillness and quiet.
• Depth of Field: Use a deep depth of field to keep everything in focus, capturing every detail of the space, from the foreground to the background. This will create the sense of clarity and documentary feel typical of Shore’s work.

Conclusion

In conclusion, my photoshoot aligns with the principles of the New Topographics movement by:

• Documenting human-altered landscapes like empty car parks and garages, which reflect how human activity has reshaped the environment.
• Using a neutral, objective style with wide-angle shots and subdued colours, staying true to the unembellished, observational approach typical of Shore’s work.
• Commenting on suburban development by focusing on the overlooked spaces that are a direct result of modern growth and urbanisation.
• Creating a sense of detachment by photographing spaces that are empty, inviting viewers to reflect on the built environment without emotional influence.

1. First photoshoot inspired and influenced by New Topographics. (+100 photographs). Remember to include examples of work by photographers associated with that exhibition/ movement that have influenced your work.
2. Select, consider and decide on best images (show contact sheets)
3. Develop ideas through digital manipulation (ie: cropping, contrast, colour balance etc.)
4. Realise a final outcome.

Contact Sheet

My First Location

I chose to photograph this green metal shed in the middle of grassland because it captures the quiet, everyday quality that Stephen Shore is known for. The shed isn’t dramatic or traditionally beautiful, but that’s exactly why it stood out to me, it feels ordinary, yet out of place in its setting.

The contrast between the man-made structure and the open, natural surroundings reflects Shore’s interest in how humans shape and interrupt landscapes. The shed feels isolated and slightly neglected, which adds to the atmosphere of stillness and subtle tension that I wanted to capture.

The green colour of the shed blends slightly with the grass, but still stands out enough to catch the eye, much like Shore’s use of soft, natural colour palettes. I composed the image in a straightforward way, without exaggerating perspective or lighting, to reflect his neutral, observational style.

This image fits into my wider New Topographics theme by showing a functional human object in a natural space, asking the viewer to notice and reflect on how we leave marks on the environment.

Experimenting with Editing

I edited The images in slightly different ways, but I found that the images that have minimal editing just a slight warmness actually make a bigger impact compared to the over edited ones as it shows the contrast between the industrial looking shed and the natural landscape that surrounds it.

Here I used one of the filters on lightroom to subtly edit the sky and make it slightly warmer toned as it creates a softer appearance.

Experimenting with photoshop

Editing

My Second Location

I photographed an abandoned petrol station/ garage and an abandoned car because it perfectly fits the New Topographics theme of human-altered spaces that feel overlooked or in transition.

This setting reflects Stephen Shore’s interest in ordinary, functional places and how they age or lose purpose over time. The overgrown bushes and natural regrowth surrounding and amongst the garage shows how nature slowly reclaims man-made spaces. Which adds an ironic aspect to the image, what once was a site of fuel is now slowly being overtaken by plants.

I kept the composition clean and neutral, with natural lighting, to reflect Shore’s straightforward, documentary style. The image invites the viewer to consider the relationship between technology, space, and abandonment without romanticising it.

My Third Location

I photographed the abandoned building, possibly a workshop because it reflects the quiet decay of once-functional spaces. It fits the New Topographics theme by showing a human-altered environment that’s no longer serving its original purpose.

The workshop’s empty, worn-down feel creates a sense of stillness and abandonment. Like Stephen Shore, I was interested in capturing the dullness of the everyday, focusing on natural light, muted colour, and a straightforward composition to let the scene speak for itself.

My Final Location

The abandoned mental hospital stood out to me as a powerful symbol of memory, and neglect. It connects to the New Topographics by documenting a place with deep human significance that has since been left behind. I aimed to present the hospital as it is—quiet, empty, and unsettling in its stillness.

The shutter speed is what controls how much light enters.

You use a low shutter speed for more light, you get an outcome like this, it takes a lot longer to capture the image and you need to put it on a tripod.

Fast shutter speed can capture moments precisely, it shoots really fast, you don’t need a lot of light.

We went on a photography trip to Harve Des Pas on Wednesday 12th March 2025 and walked around capturing photos of the landscape, we walked around Harve Des Pas and then walked from Harve Des Pas down to La Collette to capture photos of the whole area, I also attempted some panorama photos also.

Here are some photos I got:

In photography, typology means taking a series of photos of similar things—like buildings, faces, or objects—shot in the same way, to show how they’re alike and different.

Photographers often:

• Use the same angle, lighting, and framing.
• Show the photos in a grid or series.
• Focus on patterns or comparisons.

Typology in photography started with Bernd and Hilla Becher in Germany in the 1950s. They took photos of similar buildings, like water towers, all in the same style to compare how they looked.

Their work inspired many other photographers, and this way of taking photos became known as photographic typology.

here is an example of one of there pieces called “water towers”

I went down to Gorey in the Jersey Channel islands to attempt a typology photoshoot, I went in with the original plan to get photos of trees but ended up getting drawed in by the various road signs and ended up doing a typology photoshoot of them.

Here are the photos of trees i got but didn’t end up really liking:

Then i noticed a couple street signs and switched to taing photos of them:

Here are my newspaper inspired photospreads that I made from my street photography images which I took in St Helier Jersey CI, I made 3 variants…

This is my first variant:

This is my second variant:

This is my third variant:

Here are close ups of the text I used

I only ended up using my second and third variant as I thought they worked well together, here is both of them printed and framed.

This is my second variant of my photospread

This is my third variant of my photospread

First I started with deciding a title.

This is my first image I have placed on my picture story. This is the establishing shot which explains what the image is about.

Next I added text to explain what work there is in St Malo and France.

This is the second image that I have placed on my picture story.

This is third image and it shows two people that are at work on a construction site. I have added a caption to explain what is in the image. The person at work image shows what people do in their daily live and what they do for a job.

This is the fourth image in my picture story and it shows a different sector of work in St Malo.

This is my fifth image in my picture story and it shows hospitality and restaurant work in St Malo.

This is my sixth image in my picture story and it shows harbour work at the ferry port to keep travel flowing.

This is my final picture in my picture story and it shows work in cafes and hospitality.

This is the final picture story and I have added a light blue sphere in the background to add more colour and so it matches the different shades of blue I have used.

This is the complete picture story.

I have added gaps between the images so they don’t look squashed and so there is a balanced amount of negative space so the picture looks balanced and proportional.

Feedback On The Picture Story

Original picture before feedback.

This is my picture story which contains feedback. On how to improve my images and the picture story as a whole.

I have now added some space between the images. Which was part of my feedback.

I have now added one caption, to further explain one image and to show what they are doing.

This is now the final picture story and the picture in the top left is the establishing shot, which will set the scene for the picture story. All my images link to the title which means ‘working in St Malo‘. All images show people working in different ways which includes construction, retail, building and cafes.