I was fairly confident with how my wipp was looking off the back of the zine design and reception that publication received, however I was still keen to gain feedback on it. During the last webinar, it was noted that I had a couple of similar images in the broken tree stumps (Fig: 1), something that I had overlooked. As soon as this was pointed out to me, it became immediately obvious and really makes it clear the importance of being able to print work out and ‘live’ with it in a tangible form. Something that I am looking forward to being able to do once I can return to my work and use the facilities there. I quickly moved on to create version 2 of my wipp

Figure 1: Phil Hill (July, 2020) Broken tree stump images. [Left] kept in WIPP [Right] edited out of WIPP

I opened this version with the image of the disused rail link (Fig: 2) and aimed to create a mix of single portrait juxtaposed with a subtle version of the Watford yellow, inspired by Bryan Schutmaat, and also a way of continuing connection to place. I have also created a number of diptych combinations, as they would be seen in a double page spread, for example the image of the youth centre next to the train bridge arch (Fig: 3&4) to consider the commuting connection and potential impact on community, the arches of this train bridge are also quite synonymous with the part of Watford, called Bushey. I don’t think this particular dyptich is working however. Although there are visual similarities in these images in the bricks and the architecture, the individual meaning of the images is lost when going for a mere aesthetic combination of images, so I sought to change this again. I also placed some of the portraits together with details of Watford, however again I felt that the visual impact of some of these portraits is lost when placed with other imagery (Fig: 5 & 6).

Feedback received for this version support some of my own conclusions. Ross noted that the sequence would really benefit from opening with a portrait and on reflection I would agree. My project has always been based around the portrait so feels more logical to start with one of these. It also creates a ‘hook’ to lead you into the work. Ross also mentioned that the last image, which I had left from the design of my zine might be better changed too. The image of Owen is gazing out of the frame and pushes the eye out of the frame (Fig: 7), so it might better to finish with a portrait of a direct gaze, such as Luis (Fig: 8) to really plant you into the narrative, which is something that I have been aiming for.

With this edit, I have decided to utilise more of the yellow juxtaposition next to the single image spreads (Fig: 9). I feel this adds a nice contrast to the black and white as well as bringing the Watford connection through the work. I also consider it a way of carrying you through the narrative and not be confronted by a jarring blank white page, which in turn allows the reader to examine the single image more fully as the eye is directed to focus on the portrait. The yellow also warms the tone of the reading. As discussed before, I have a number of images that reveal an underlying anxiety, yet I do not want the narrative to solely be about this, or at least, I do not want the reader to immediately come to this conclusion, perhaps after one or two viewings of the work to fully understand it. To warm it up also links to the summer months that the work was created. This version feels the most complete to me.

My work in progress portfolio is aiming to be about how people are coming back together as restrictions are lifted. It is also how I continue to consider my own connection to place. Through research into a number of concepts, I also wanted to explore in detail the idea of a documentary aesthetic and how this continues to permeate our collective consciousness of how we assume a documentary image ‘should’ look. Whilst doing so, I also became interested in the idea of drawing attention to the act of photography, which is how I am starting to consider some of the best photographic projects do. This starts to consider my place within the scene (Fig: 1).

This supports some initial research that I made on the concept of ‘gesellschaft,’ (Fig: 2) or the larger more impersonal communities that many of us find ourselves in whilst living in bigger urban and city areas (Keller, 1988: 171-172), and also the idea of community idiorrythmic living together but also separately (Barthes, 2012: 102). These two concepts have been quite crucial in understanding my own feelings towards places as I moved around a lot and now find myself living in Watford, brought here for a job. That sense of connection has never been there, even after meeting my wife and having our daughter here. The town has always felt fairly transient, although this may just be a personal reflection of my own feelings towards the town. Existing outside of London, it serves the capital via its many substantial transport links (Fig: 3).

It became more and more apparent to me during the time creating work for this module that my project was becoming a journey through Watford. An evolving connection is beginning to form in the Images that I am starting to make, which is partly out of the new spaces that I discovered whilst we were on Lock down, this is something that I wanted to reflect in this submission. There is actually a great deal of beauty in the immediate surrounding countryside and even in the numerous wooded areas that permeate the suburban sprawl of Watford. Until now I have viewed the town as the designated ‘Urban District’ that exists just outside of London with no real character of its own other than to serve London; the last place before entering the capital or the first town you enter when leaving. What I have started to discover in the sense of my title for the work ‘I hope this finds you safe and well’ is a new appreciation (UK Government, 2011) for the place that I have lived for the past 7 years.

The work and title is also to acknowledge that a work made during this time, which primary focus is on a community would inevitably draw connections to the current pandemic. Although my initial concept of the work was to engage with people as we come back together, I have not actively sought to directly photograph the evidence of covid – this is something that has been covered effectively by other photographers (see post). However, there does exist a subtle anxiety of a community emerging tentatively in the aftermath of restriction (although again, this is potentially my own reflected feelings towards the subject). I have attempted to show this in my image sequence, for example, the overgrown railway to denote a shutdown transport network – a major contributor to Watford (Fig: 4). The image of the concrete post with the words ‘help me’ written (Fig: 5), a boarded up youth centre – a usual gathering place of a functioning community (Fig: 6). A broken tree at the stump (Fig: 7), which is hugely metaphorical denoting a number of meanings in life and death, existence, and can also be used to show groups or individuals (Wirth, 2015) and in my case could also denote the community. I have also included an image of a dead fox, which is another important metaphor for sly and underlying, and also associated with blending into its surroundings (Smith, 2005), which could be linked to the virus itself. I also want a certain amount of ambiguity in the sequence, even with the above, I understand that viewers of the work will bring their own narratives to its reading, yet have a certain pathos to how that happens. During my last webinar, Ross also pointed out that that there are a number of images that suggest forms of broken down communication, via the messages, the power lines and the railway, which had not occurred to me before but I quite like.

Continuing with the design elements of my zine (Fig: 8), I have made a number of developed changes to the design created for my landings zine. This includes the position of the title text on the cover for legibility and changed the ‘and’ to an ampersand as I felt that it looked graphically better on the cover (Fig: 9). I wanted to maintain the consistency of what I had made for landings with enough differentiation for my WIPP submission.

My work for this module has been about establishing an applied approach to the research that I have undertaken. There is a distinct rhetoric to the way that photographic projects present projects about community, which is steeped in this idea of a ‘Documentary aesthetic,’ and how the language of documentary is bound to the mythology of the grand photo documentaries, such as the FSA. However, even more contemporary photographers have a role to play in shaping how this kind of project is depicted and how we as an audience interprets and reads the work. I have used Alec Soth as an example throughout the module, who acknowledged the specific use of apparatus and language in constructing a documentary image (Soth in Feuerhiem, 2015), and also has an ‘Alec Soth character’ that he will gravitate towards in the work that he creates (Soth in Flectcher, 2020), which perpetuates and continues to shape the collective awareness of how this kind of image is expected to look.

Considering how to start editing my final WIPP submission for Surfaces and Strategies, I am gravitating towards using my Landings zine sequence as a starting point (Fig: 1). However, I have created a number of images since putting this work together and also worked on developing my approach to creating a greater sense of the place that I am photographing within. After considering the work of Bryan Schutmaat recently, I quite liked his use of coloured paper opposite some of his individual images in the book ‘Grays the Mountain Sends’ (Fig: 2). As mentioned previously, I am unsure on the idea of a book, yet quite drawn to the connection that I made to the location of Watford through the materials and the colours in my zine (Fig: 3 & 4). Additionally, I felt that the colours on the cover create a striking contrast to the black and white images within, which is potentially at its greatest impact in the linear narrative of a photo book. I am also still developing my sequencing and narrative skills and the book in its linear placement of images, juxtapositions, diptych’s is an ideal place to develop this, especially as it can also be printed out and ‘lived with’ in order to see if the placements and sequencing is working overall. Even if I do not opt for a photo book for the FMP down the line, this is still a valuable exploration to create effective visual narratives.

I still intend to have an online presence for the work and create an updated gallery for my website, which would be different again from the gallery that I put together for Landings. My aim is to extend and develop the existing narrative ideas that were started with the exhibition work. This expanded focus over the zine is to try and create an additional ‘character’ in the place, as Schutmaat does with his work, and to acknowledge that even in the images without people, they still reflect the people that I have depicted in the community that I have depicted them. I also aim to do this through my own subjectivity and the selective and constructed views, inspired by my research into the FSA and documentary aesthetic.

By also building on what I have already created with the zine, it will be presented consistently across the channels that I have already shown portions of the work, which could otherwise be confusing to audiences. And this also incorporates the strong juxtaposition of colour and title text.