6th Oct, ’20
AD7506 Professional Practice – beginnings
After an introduction to the brief last week, I have been considering what I can achieve during this module, and how to achieve my aims… Overall, I want the module to allow for a reinvention of my photographic practice – art based project photography (not commercial based).
Potential aims for the module
Element one:
- Complete an existing project as an immediate vehicle for promotion and publication
- New website – fine art photography based/aesthetic (already started)
- New social media handles – art photography based/aesthetic
- All research, discussion, planning, test images and evaluation presented on a website
- Both projects to culminate on new website and as books
- A solo exhibition
- Development of a new course that draws from similar themes within my two photographic projects
- Wider research/discussion/interview with professionals about wellbeing/escapism (project one theme) and environmental impact (project two theme)
Additional content – contact publishers / submit to relevant websites and online magazines / conduct book reviews / conduct exhibition reviews / new website, discuss platforms / New logo / discuss previous practice and how it influences new direction
Element two:
- Start and complete a new project as a further vehicle for promotion and publication, as part of a wider collaborative project within the group.
7th Oct, ’20
The first thing I want to do during this module is complete a project that I began once I found out I was going to be able to participate on the MA…
Nights, Lights, Love, Lyrics
Nights, Lights, Love, Lyrics is an iPhone project that explores a sense of freedom. This project is a love letter… A love letter to not stopping. A love letter to running. A love letter to my favourite place. A love letter to music. A love letter to light. A love letter to technology. A love letter about love.
This project is a complete departure for me. I utilise a large format camera for a lot of my work, and I almost always have an SLR of some variety in my hand. This is the first project I have created that fits in around other passions – music and running. Normally, as the year draws to a close, the nights draw in and the weather turns colder, I stop running. I tend to run after work, off road, in my favourite environment – Newton and Merthyr Mawr dunes, in South Wales. Off road running, at night, in an environment that has no artificial light wasn’t a prospect that appealed, so I would always put running on hold until the light returned in March. But in 2019 that changed; I decided I would not stop. So one evening, after work, on a night filled with moonlight, I grabbed a torch, my phone, my headphones, the dog, and we ran.
And it was terrifying. Wonderfully, exhilaratingly terrifying. A lack of light, uneven terrain, noises from the woods, the moon shining through the trees… I ran like the wind. When I got back to the car I felt amazing. It was the best run I had been on for a long time.
So I went again, the very next night. And again, the moon ran alongside me, and helped light my path. And it was then that I realised I had a camera in my pocket; my iPhone. So I pointed it at the moon through the trees and I fell in love. Darkness, light, photography and music. Nights, lights, love, lyrics. An idea formed.
I went out the next night, this time with a headtorch as well as my hand torch, and for the next images I illuminated the trees. And I ran, and I shot, and I listened, and I loved. That single hour per day became my release and my wellbeing. I decided that I would make a note of the lyrics that were playing at the time of image making, and they became an accompanying narrative alongside the imagery.
This project has educated me. In new music, in not stopping, in abandoning the endless need for technological progression, in thought, in love. It is about memories, dreams, health and wellbeing.
It is about her.
It is about me.
I want to use this project as a vehicle for immediate promotion… I now know how I want this project to end. There are only a couple more images that I wish to capture to allow this project to reach its conclusion.
7th Oct, ’20
After speaking with Jack Southern via a tutorial this morning, I am incredibly excited about this module. It is so invigorating to step away from the commercial side of photography and to start a journey that allows me to photograph projects. Projects that I want to do; projects with themes, that address issues, and that are exciting.
A consideration:
I am doing this course for me. I’m not doing this to be published or to receive good grades or praise. I’m doing this because I’m a photographer. I’m doing this because I love having an aim and a challenge. My aim is to complete photographic projects, to turn my ideas into photographs. My aim is to photograph a plethora of different projects. I am not a documentary photographer, or a landscape photographer, or a portrait photographer, or a conceptual photographer, or a process-based photographer… I am a photographer. I’m in love with photography. I am now a project photographer; maybe an art photographer. I shoot projects. There might not be a single theme or connection that currently weaves its way through my project, but I have ideas; all of those ideas have an aim and a purpose, they are all about something. But all of my potential projects are about something different. And I’m fine with that.. that’s what I want. That’s how I’ve always shot. And I think that is how I will continue to progress as a photographer. Genre, theme, context or concept; these things are present in my ideas… I could look for a thread of cognisant weave that currently winds its way through all of my work, but at this moment in time that would be making something up. A theme will become apparent as the module progresses. But…
I don’t want to do just one thing…
That’s not me.
9th Oct, ’20
New website…
I have designed and run several professional websites over the years to promote my self as a freelance photographer. I have also designed and run several website for other businesses and individuals. With wedding photography being well and truly behind me now, I have changed my peterbrittonphotography.com website to become a platform for my MA research/development, and I intend to relaunch with a new website showcasing some existing work, with the aim of the website being to promote upcoming MA projects. I felt no regret as I took down the wedding site. Quite the opposite in fact. That said, I am proud of where the wedding site ‘got to’ in terms of SEO and high google ranking. But that era is over…
For the new site, I will investigate my main knowledge area (WordPress), but will explore other providers such as Format and Squarespace…
10th Oct, ’20
New website
My initial thoughts about the new website were to utilise WordPress. It is the platform that I am most familiar with, and I know that it works well with SEO and google. After some explorations into themes and style, I have decided to move away from WordPress for a few reasons:
Style – it does not have the visual aesthetic that I am aiming for.
SEO – no longer the ‘be all and end all’
Learning – I want to learn something new. I can also pass this knowledge onto my own students.
So having also had a look at Squarespace I have decided to use Format to build my new site. I have noticed that several of my favourite photographer use format, and I like the aesthetic overall. Within web design, a good website is:
Clean
Classy
Contemporary
Format works on a theme basis, and at first glance seems very easy to navigate and structure. As for themes, I like the look of the ones below, but with white background contents, as opposed to black…
11th October, ’20
Logo design
I have decided to design a logo for my new website. This logo will not be widely used, as logos for a professional art photographer are not the norm, but it will add an element of professionalism to the site on the about page and as a site icon (found on tabs next to the URL).
The logo idea is a simple one; a visual play with my initials. I’ll use Photoshop to put it together…
12th Oct ’20
My new website is now live and currently hosts previous and ongoing work. I will use it to showcase projects during the MA, and I will be updating it periodically with new work as my future projects develop once the MA is complete. With the experience I have from developing my previous sites, I hope this site will act as vehicle/platform for my projects to gather and accumulate.
14th Oct ’20
New Instagram – now live!
I have created a new Instagram handle for promotion and display of my photographic projects. I also intend to use this as an area for research, by only following art/photography organisations, publications, artist networks, magazines, journals and channels. This will mean that my feed is uncluttered of the everyday, allowing me to observe only art, historical imagery and progressive contemporary practice. This also gives me a further area to push organisations to, and an area to gain communication and potnential.
16th Oct ’20
Developing Professional Practice – AD7506
Proposal form
| Name | Peter Britton | Course / mode of study | MA Photography |
Broader context beyond this assignment – your personal interests
| Could you briefly outline your key interests in terms of your broader photographic or artistic practice? This can include briefly mentioning your background and work you have made previous to starting this MA course if appropriate. We know your video presentation covered this to a certain extent, but it would be really help to us to also have this in written form as a short paragraph. |
| I have several aims that I would like to achieve during my time on the MA. I want to embrace the opportunity to shoot and engage with projects… as many projects as time and resources allow, but away from my ‘familiar’. I photograph people substantially, and want to move away from this by moving into areas that are more fine art based, possibly around landscape and perceptions. I wish to re-establish myself as a photographer, reinventing my path to be more art and project based. Within this, I want to step away from my previous commercial and wedding route and adjust my focus to have greater purpose and meaning. I have already started this by moving my freelance attention away from weddings and editorial and adopting a new business approach. My freelance photography is still portraiture, but it is now captured solely on large format black and white film. Five-by-Four portraits is now established, is in its second year and is a lovely side-line business to my main job as a photography lecturer. www.five-by-four.com Most of my personal work and ideas for the MA centre around ‘human interaction with the natural environment’. By looking at my current new projects, I have noticed a thread of constant that weaves through my new work and ideas… ‘Human interaction with the natural environment’ is my familiar theme. |
| Could you briefly summerise what you are currently thinking the focus of your assignment 1 might be? (a reminder of the 6 areas of focus we are asking you to choose from are below – remember just choose one of the below). Could you also briefly explain your choice? – Contextualising your practice in order to best anticipate its future direction – Collective, collaborative and co-operative models of working / practice – Examining how other creative partitioners work, in order to best understand your own aspirations and future progression? – Ethical frameworks of working appropriate for our times (in relation to your practice) – Understanding the creative ecology relevant to your practice – The nature and role of audience today, and how to best locate and understand the audience/s relevant to your practice |
| – Contextualising your practice in order to best anticipate its future direction AD7506 Professional Practice After an introduction to the brief, I have been considering what I can achieve during this module, and how to achieve my aims… Overall, I want the module to allow for a reinvention of my photographic practice – art based project photography (not commercial based). ‘Contextualising your practice in order to best anticipate its future direction’ fits my intended outcomes perfectly, I feel. Potential aims for the module Assignment one: Complete an existing project as an immediate vehicle for promotion and publication (Nights, Lights, Love, Lyrics). New website – fine art photography based/aesthetic (already started) New social media handles – art photography based/aesthetic All research, discussion, planning, test images and evaluation presented on a website Both projects to culminate on new website and as books A solo exhibition Development of a new course that draws from similar themes within my two photographic projects Wider research/discussion/interview with professionals about wellbeing/escapism (project one theme) and environmental impact (project two theme) Additional content – contact publishers / submit to relevant websites and online magazines / conduct book reviews / conduct exhibition reviews / new website, discuss platforms / new logo / discuss previous practice and how it influences new direction. |
Working collaboratively with your fellow peers
Working collectively / collaboratively with your peers – Aims + Objectives
| Do you have particular skills you think are important to note in terms of working either with other others or collaboratively? These could include practical skills such as photographic documentation / administrative / experience of putting together promotional material / social media / proposal writing / creative writing and project overviews / dealing with money / funding etc / people skills / creative problem solving, etc..or anything else you can think of!! |
| I am a photographer, and have worked in editorial photography and with organisations to document process and practice. As course leader on a degree in photography, my administrative skills are good, as are my time management skills. I have knowledge and skills of web design and marketing. Via running freelance businesses and as course leader, I have had to market my businesses and courses. As such, knowledge of social media as a promotional tool is very high. I have written several fictional stories (including a 70,000 word novella) and an illustrated novel and have extensive knowledge of advertising and print poster design. I am proficient with video/moving image/premiere as it is a large factor on the course I run. I am also CAA certified and qualified to fly drones. |
Benefits / restrictions / concerns
| What opportunities / benefits can you see in working with your peers? |
| The main benefit to me personally is expand my knowledge of the wider arts and to enjoy the reward of a working as a collective. I am currently in the process of setting up a collective in South Wales called ‘Lecturer Collective’. The idea is to provide photography lecturers in South Wales with a reason and purpose to photograph a project. It is a project that unites photographic lecturers across South Wales to complete regular photographic briefs with the purpose of showcasing the outstanding talent of the professionals we have in education. I see this as a great way to give our students aspirational values. The aim for the project to culminate in an exhibition. |
| Do you have particular restrictions you could identify in terms of working with your peers? |
| Nope. |
| Do you have concerns about working collaboratively? If so, could you briefly outline what these might be? |
| Absolutely none. |
Practicalities / Availability
| What time / day restrictions do you have in terms of your availability in engaging in collaborative work? i.e. – You can only be available on Wednesday mornings – Or you could be available on other days too? Can you only engage in group work remotely? |
| I can engage on Wednesdays, occasional Friday afternoons, remotely or occasionally on weekends. |
| Linked to the above – Do you have any specific travel / commuter issues we should know about? |
| I travel from South Wales (Porthcawl) to Cheltenham for my studies. |
| Do you have any other personal circumstance which you feel we need to take into account in relation to group work? |
| No. |
Working collaboratively with exterior connections
Nature of a possible collaborative project – foraging exterior connections
As there are lots of potential options with this project. Just for this initial stage, we want you to forget all the practicalities and do some blue-sky thinking !
| If you could use this module to forage a connection or potential collaboration with an exterior individual (any type of creative practitioner – photographer or artist, etc) – or organisation, institution, business, community group, activist group or anything else you can think of, etc… – what would that be? Could you be as specific as possible and briefly explain why. |
| I am interested in alternative processes within photography. As such, I am always playing with cyanotype, wet plate, time type, etc… I have an idea for a personal project that links to the RNLI. Around two weeks ago I did an initial experiment with gelatine and glass cyanotypes, and I loved the visual aesthetic that emerged. They look like water, and they appear to float… |
| How do you think working collectively / collaboratively could be most useful to you? |
| Again, I think the main benefit to me personally is expand my knowledge of the wider arts and to enjoy the reward of a working as a collective. |
| Would you consider the potential of working with an exterior (i.e for outside the University) practitioner / individual through invitation on this project? If so please specify what kind of practitioner this might be? |
| Yes. Any. |
| Would you consider the potential of working with an exterior group through invitation on this project? If so please specify what kind of group this might be? |
| Yes. Any. |
24th Oct ’20
Whilst looking through this years ParisPhoto exhibition (online) I came across this image by Jasper Goodall. It is reminiscent of my own imagery and is an image of total beauty. It’s fabulous… He certainly isn’t using an iPhone. Artsy states that “We spend our lives surrounded by the security of possessions, relationships and roles, but our futures hold nothing so substantial; one day we must all enter into true not- knowing – into a dark, unconscious place.”
Artsy sums the image up perfectly; “The perception of the landscape is not a one way street, we embellish places with imagination, memory, culture and spirituality. This understanding is central to Goodall’s work as he seeks to imbue the physical spaces that he photographs with palpable atmosphere. His work is more fairytale than documentary as the viewer is transported into an eerie netherworld – a portrayal of reality that we are not used to seeing. After all: the night is when we dream – it is a wilderness unto itself. At night in a dark wood, one steps beyond the familiar trappings of human life and there is a powerful re-activation of childhood fears and wild imaginings; there is something almost regressive in the experience. Indeed, in folk and fairytale, the dark woods are often considered a metaphor for the unconscious mind; an internal wilderness populated with perils, terrors and half seen entities. However, in this space of diminished rationality there is perhaps, the potential of a proximity and a reconnection with a long lost sacredness”.
https://www.artsy.net/artwork/jasper-goodall-twilights-path-030-moonrise
Goodalls work has dark undertones of mystery… visually, they are phenomenal.
Artsy.net. 2020. Jasper Goodall | Twilight’s Path 030 – Moonrise (2019) | Available For Sale | Artsy. [online] Available at: <https://www.artsy.net/artwork/jasper-goodall-twilights-path-030-moonrise> [Accessed 24 October 2020].
Maria Lax – Some kind of heavenly fire
https://www.maria-lax.com/some-kind-of-heavenly-fire
The work of Maria Lax is another obvious source of reference for ‘Nights, Lights, Love, Lyrics’… The use of colour in her imagery is vivid and highly saturated to create a blur between that which is real and that which is not. There is a sense of fantasy evident in this series, which documents Northern Finland and its sparsely populated wilderness… The darker areas of her imagery draws the viewer to the light, and allow the light areas to pinpoint content. The images are almost ghost-like, and have an ethereal context and quality. There are suggestions of the unseen, and the viewer is allowed to come to their own conclusions. The viewer is left to question the intent of the images.
25th Oct ’20
Night, Lights, Love, Lyrics
This evening, I finished this project. These images complete the project. What started out as a run has ended up being my most exciting and rewarding work. I have loved this project. It hasn’t helped to achieve that which I hoped it would… but as I ran, I escaped & this work was my escape. Now it is my immediate vehicle for promoting myself as an artist. Here are the final four shots:
I am sad this project is over. For nearly a year, this has been a part of me. I have used it for so many reasons. To run, to escape, to hear new music, to think, to consider (me, others, problems, love, what I want, what I need)… I have loved it. It is my most rewarding project… Night Lights – end lyrics – Now you ignore me as I overstepped the mark. And it all comes round to the beginning, as I end this one in the dark.
28th Oct ’20
I have emailed several publishers/organisation with a link to the website… and my Nights, Lights, Love, Lyrics project in particular… here is what I said:
Hello,
I’m a lecturer in photography and photographic artist. I deliver university of South Wales’ degree programme at Coleg Gwent. I’m wondering if you can do/wanted to do anything with my most recent project? It is fundamentally an iPhone project that explores a sense of freedom. This project is a complete departure for me. I utilise a large format camera for a lot of my work, and I almost always have an SLR of some variety in my hand. This is the first project I have created that fits in around other passions – music and running.
Normally, as the year draws to a close, the nights draw in and the weather turns colder, I stop running. I tend to run after work, off road, in my favourite environment – Newton and Merthyr Mawr dunes, in South Wales. Off road running, at night, in an environment that has no artificial light wasn’t a prospect that appealed, so I would always put running on hold until the light returned in March. But at the end of 2019 that changed; I decided I would not stop. So one evening, after work, on a night filled with moonlight, I grabbed a torch, my phone, my headphones, the dog, and we ran. And it was terrifying. Wonderfully, exhilaratingly terrifying. A lack of light, uneven terrain, noises from the woods, the moon shining through the trees… I ran like the wind. When I got back to the car I felt amazing. It was the best run I had been on for a long time. So I went again, the very next night. And again, the moon ran alongside me, and helped light my path. And it was then that I realised I had a camera in my pocket; my iPhone. So I pointed it at the moon through the trees and I fell in love. Darkness, light, photography and music. Nights, lights, love, lyrics. An idea formed.
I went out the next night, this time with a headtorch as well as my hand torch, and for the next images I illuminated the trees. And I ran, and I shot, and I listened, and I loved. That single hour per day became my release and my wellbeing. I decided that I would make a note of the lyrics that were playing at the time of image making, and they became an accompanying narrative alongside the imagery. This project has educated me; in new music, in not stopping, in abandoning the endless need for technological progression, in thought, in love. I am working towards the work being exhibited in The Senedd towards the end of next year. Have a look at the imagery; I’d like to hear your thoughts. The imagery can be seen on my website:
https://www.peter-britton.com/nights-lights-love-lyrics#1
Kind regards,
Pete.
I sent this email individually to:
The Guardian
Apple
The Observer
BJP
Another Place Press
Lenswork
Hoxton Mini Press
Taschen
V and A
Aperture
Powerhouse books
Trolley Books
Papdakis Books
Optonline
I don’t expect a response from anyone, but if you don’t ask…
28th Oct ’20
The new instagram account is going well. I’m using it for project promotion. To help separate projects visually, I have made the above separator. I am aware of the commercial aspect of a logo, but I quite like it…
1st Nov ’20
Research – Trent Parke
The above image/photographer has influenced my edit, and the visual style of his I have imparted into my projects. Dark, brooding and with a sense of foreboding, the imagery has different reasons for the dark undertones.
For Trent Parke, coming from a country town to a big city (Sydney), he found himself in isolation, and this is apparent in the lack of shadow detail and edit style. Parke spent five years creating his series Dream/Life.
Parke says “I left everything behind – all my childhood friends and my best mate – and I just felt this sense of complete loneliness in Sydney. So I did what I always do: I went out onto the street and used my Leica to shoot how I felt at the time. I’m always trying to channel those personal emotions into my work. That is very different from a lot of documentary photographers who want to depict the city more objectively. For me it is very personal – it’s about what is inside me. I don’t think about what other people will make of it. I shoot for myself” (Foster, 2020).
Parkes imagery is complex on a contextual level.
“I wanted to present a truer version of Sydney – with lots of rain and thunder storms, and the darker qualities that inhabit the city – not the picture-postcard views of Sydney that the rest of the world sees. I also wanted to make images that were poetic, but I actually found the city to be quite ugly in terms of the amount of advertising and visual crap that clutters the streets. I found I could clarify the image by using the harsh Australian sunlight to create deep shadow areas. That searing light that is very much part of Sydney – it just rattles down the streets. So, I used these strong shadows to obliterate a lot of the advertising and make the scenes blacker and more dramatic. I wanted to suggest a dream world. Light does that, changing something everyday into something magical” (Foster, 2020).
“I went out shooting every day – it became like a drug to me. I loved the ‘rush’ of getting out amongst all the people and I just needed to get the images on film. My mum died quite suddenly one night from an asthma attack. That was it. It was all over. It was the turning point in my life that left me desperate to grab hold of everything while I can. There is no certainty of tomorrow” (Foster, 2020).
Foster, A., 2020. Trent Parke: Dream / Life. [online] ~ Talking Pictures ~. Available at: <https://talking-pictures.net.au/2020/09/12/trent-parke-dream-life/> [Accessed 30 September 2020].
1st Nov ’20
I can’t leave this project alone, it would appear… thought it was finished… maybe it’s not:
2nd Nov ’20
I have been submitting ‘Nights, Lights, Love, Lyrics’ to online magazines for scrutiny. Again, let’s see if anything happens with these enquiries…
2nd Nov ’20
Research – Edward Burtynsky
Edward Burtynsky is a Canadian photographer whose imagery explores the collective impact we as a species are having on the surface of the planet. Burtynsky’s work chronicles human impact on the planet. His images are widely regarded as key visual documents of our time (London, 2018). As my general focus seems to veering towards ‘natural environment’ and how we as humans interact with it, I feel that Burtynksys work has a familiar theme.
“When I first started photographing industry it was out of a sense of awe at what we as a species were up to. Our achievements became a source of infinite possibilities. But time goes on, and that flush of wonder began to turn. The car that I drove cross-country began to represent not only freedom, but also something much more conflicted. I began to think about oil itself: as both the source of energy that makes everything possible, and as a source of dread, for its ongoing endangerment of our habitat.
I wanted to represent one of the most significant features of this century: the automobile. The automobile is the main basis for our modern industrial world, giving us a certain freedom and changing our world dramatically. The automobile was made possible because of the invention of the internal combustion engine and its utilization of both oil and gasoline. The raw material and the refining process contained both the idea and an interesting visual component for me.” (Burtynsky, 2017).
He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently helicopters and fixed-wing aircraft.
Burtynskys work is a direct influence on the Pertichor. It has familiar themes, such as human impact / landscape / environment / detriment… Burtynskys Oil work has direct links links to mine, as occasionally the main focus is either road, or transport. While my project has other themes within (the importance of the road to me), human impact is vastly evident upon the landscape that the A470 slices through.
London, P., 2018. Photo London. [online] Photolondon.org. Available at: <https://photolondon.org/event/photo-London-master-of-photography-edward-burtynsky/> [Accessed 29 September 2020].
Edward Burtynsky. 2017. Photographs: Oil — Edward Burtynsky. [online] Available at: https://www.edwardburtynsky.com/projects/photographs/oil [Accessed 29 September]
2nd Nov ’20
I am interested in alternative processes within photography. As such, I am always playing with cyanotype, wet plate, time type, etc…
I have an idea for a personal project that links to the RNLI. Around three weeks ago I did an initial experiment with gelatine and glass cyanotypes, and I loved the visual aesthetic that emerged.
These glass and gelatine cyanotypes look like water, and they appear to float…
So an idea formed to create parallax seacyans – gelatine glass cyanotypes, that the wash of a wave breaking on the shore ‘exposes’. I did some research and it turns of someone has done this (https://www.theguardian.com/artanddesign/gallery/2018/feb/23/meghann-riepenhoff-cyanotypes-tidal-patterns), but with paper, not glass. So I decided to change the thought process to still allow the sea to create the image, but by placing the glass gelatine cyan in a thin tray of seawater, and lighting with bright studio flash (needed to expose quickly). This would then form the first layer in a 3D piece, that allows the viewer to look down through this layer (though the surface of the sea) to something below… Then a series of coincidences occurred. I stumbled upon an article on Wales online about Tusker Rock (https://www.walesonline.co.uk/news/wales-news/tiny-island-welsh-coast-graveyard-15519672). I have always known about Tusker Rock because it is only a few miles from where I live. It is a rock that is situated out to sea and is only revealed at low tide. The Wales online article revealed to me that Tusker Rock is a graveyard for shipwrecked vessels and has ‘killed’ an extraordinary number of people through history. So my idea progressed and Tusker Rock has become the ‘something below’ that the viewer sees when looking down through the seacyan glass layer.
I then found this clip – https://www.bbc.co.uk/programmes/p08sfk5l
My friend knows Ross Martin very well (the chap in the film), and I have his contact within the RNLI. I think he way the clip ends is my starting place; Ross says “Something should be done to remember the lives of those lost”… I wonder if that’s where this seacyans project could come in?
2nd Nov ’20
Victor Hugo – The Wave or My Destiny, 1857
With the potential for me to undertake a project about the sea, this painting by Victor Hugo highlights the physical impact that the sea can have. The weight of the water, the heaviness of the wave, the depth of the curling lip of tubular doom is enormously apparent in this painting. The ocean holds a tremendous force of power, and this is evident in the long history of death and destruction on Tusker Rock (hopefully, the location of my project). I love this painting. It is simple but captivating.
2nd Nov ’20
Bill Viola – Ascension, 2000
This piece is interesting, and while it is moving image and not stills, it reminds me a little of Nights, Lights in its light and tone.
4th Nov ’20
This clip is another main area of influence for my RNLI/Tusker Rock idea. The project could be titled ‘Mariners Screams’.
Hidden Wales with WILL MILLARD:
https://www.bbc.co.uk/programmes/p08sfk5l
With regard to my ‘Mariners Screams’ idea, my friend knows Ross Martin very well (the chap in the film), and I have his contact within the RNLI. I think he way the clip ends is my starting place; Ross says “Something should be done to remember the lives of those lost”… I wonder if that’s where this seacyans project could come in?
4th Nov ’20
My area of study is ‘natural environment’ and how we as humans interact with it.
4th Nov ’20
I’ve just come across Jo Howell on Instagram. She does a lot of work with glass/gelatine cyans, so I will be keeping a close eye on her feed…
8th Nov ’20
I have just received my first commission whilst studying my MA. I have had an enquiry through instagram about one of my ‘Nights, Lights’ pieces being blown up to A1 size for somebodies entrance hallway… As the originals are iPhone images, we have agreed that I would shoot the trees she likes best with a DSLR so that we can achieve the scale she wants. I went out last night and photographed for her:
I’ll be showing her the imagery later today, and she can make her choice of finish… I’ll be recommending printing on aluminium and adding an optical acrylic layer…
8th Nov ’20
Yesterday afternoon myself, Maike, Nathan and Deniz made contact via a Whatsapp group set up by Maike. We had a great initial chat:
We intend to meet next Wednesday, and I have suggested we all bring a proposal to present. The proposal will outline:
- A theme
- A potential collaborative partner
- Desired end result
- Other potential (exhibitions, etc…)
From our individual proposals I am hoping and thinking that we can create a ‘best of’ that allows us to showcase an exciting project, while moving forward with our promotion, along a common theme to work as a collective.
8th Nov ’20
While I’m talking about working collaboratively, I should mention ‘Lecturer Collective‘. I am currently in the process of setting up a collective in South Wales (and maybe further afield) called ‘Lecturer Collective’. The idea is to provide photography lecturers in South Wales with a reason and purpose to photograph a project. It is a project that unites photographic lecturers across South Wales to complete regular photographic briefs with the purpose of showcasing the outstanding talent of the professionals we have in education. Everyone would photograph an individual project, but with a common, united theme. I see this as a great way to give our students aspirational values. The aim for the project is to culminate in an exhibition, and to showcase the work via a website.
8th Nov ’20
Myself, Deniz, Maike and Nathan had a superb meeting today to discuss how to approach assignment two. Through discussion we concluded the following:
- Theme – ‘Everyone Needs…’ (wellbeing, perspective, impact)
- Potential collaborative partner – National Trust
- Desired end result – Bespoke website to showcase the work digitally, shared social media platform, online showcase via NT website, online launch evening/event, zine (made available to purchase on goodpress, etc…)
- Other potential – exhibition at NT venue with a launch evening/event. Online event could contain a charity auction where we all donate one piece and we auction it live… proceeds to NT?
Everyone needs…:
Peter – trees
Deniz – perspective
Maike – solace
Nathan – life
We decided that we would all produce work along this theme at National Trust Dyrham Park, and we would also produce some work along this theme at a location of our own choice. There is also potential for a short video piece to be produced where we discuss our projects, filmed at Dyrham Park.
We would also like to get the wider community involved by setting up a shared Instagram site for our work, where would invite the general public to tag our Instagram handle to offer wider perspective on “Everybody needs…”
We have pencilled in 14th Dec for the online event.
11th Nov ’20
Today, I contacted NT Dyrham Park with the following email:
Hello,
I am a fine art photographer and photographic lecturer, and I would like to let you know about a project idea that might interest you at National Trust Dyrham Park. I am currently studying for my Masters (MA) in Photography with University of Gloucestershire, and my current module requires myself and three other photographer/artist MA students to create a new project for the benefit of others. Our practice involves wellbeing and landscape.
We have come up with the idea of basing our collective project around Dyrham Park. It is a venue loved by all of us, and we have developed with a theme that each of us would follow to produce some new photographs/artworks of the environment. The theme/project title we have devised is one that is well known to the National Trust, and is simply called:
“Everyone needs…”
The idea is that each of us four artists/photographers complete the sentence to create our own sub-topic within the project. For example, my project is “Everyone Needs Trees”, and the other three projects are “Everyone Needs Perspective”, “Everyone Needs Solace” and “Everyone Needs Life”. The work will culminate in an online gallery (website), made by myself (you can see my own current website here – www.peter-britton.com – to give you an idea of professionalism).
As all of the work will be made on a National trust venue, and as all of us are established artists, we wanted to inform you of our intentions…
The main question we would like to put to you is, would Dyrham Park like to be officially involved? The work that will be produced is going to be a true reflection of the beauty of the landscape, and will be both conceptual and exciting. I personally have worked with National Trust previously, having shown both my own work and set up student exhibitions at National Trust Tredegar House (scroll down to the Cyanotype exhibition I curated there as an example – https://www.nationaltrust.org.uk/tredegar-house/features/february-half-term-at-tredegar-house). The work on show at National Trust Tredegar House received a lot of praise and attention, and the National Trust staff who helped facilitate us were incredibly impressed with the level of professionalism and the work itself. In terms of Dyrham Park being involved in “Everyone Needs…”, it could be something as simple as offering us a statement about the work once it is completed, or something as elaborate as allowing us to show your work there in a real exhibition (once Covid restrictions allow).
I think this would be great promotion for National Trust as it is a good(will) story, incorporates one of NTs most prestigious venues and has several favourable outcomes for National Trust (art, wellbeing and promotion).
I am eager to hear your thoughts, as we intend to start the creation process as soon as possible!
Kind regards,
Pete.
Let’s hope they respond… and swiftly!
16th Nov ’20
Submitted to British Journal of Photography for review today:
17th Nov ’20
19th Nov ’20
Progress
Things are moving along really well with regard to the group work. We have a new website in the making, an instagram site being set up and we have a great aim for our outcome.
Our project review point is as follows:
| Project Review Point – please email to Jack by Mon Nov 23 |
| Project title |
| Everybody Needs… (working title) |
| Brief description / outline of your project (between 250 – 300 words) |
| Our group member’s common denominator is our love of nature and our interest in landscapes and wellness. Our artistic practices have always revolved around the deep human need for nature and natural landscapes. We will each produce a number of photographs or paintings to be shown in an online exhibition-website. In the week commencing 14th December there will be a one-hour Zoom event in which we will introduce our work and plan to hold a charity auction event. Our work will be themed ‘Everybody Needs…’. The four artists will interpret this differently as ‘Everybody Needs Trees’ by Peter, ‘Everybody Needs Solace’ by Maike, ‘Everybody needs a Life’ by Nathan, ‘Everybody needs Perspective’ by Deniz. Our art will reflect both the beauty of nature and our individual connections with it. The main body of work we’ll each create will centre around 6 images, which can be photographic or painting, that will be inspired by our unique experiences of Dyrham Park. We will each be going to Dyrham park at separate times as to ensure that our individual experiences do not alter each other. After our journey to Dyrham park we will each chose another location, personal to us, to continue creating work at. This second location can be anywhere we choose, but must contain a personal relevance. During the website event, we will each speak on what inspired us to create these works, how we each view our connection to the natural world and how we may continue to work creatively within it. In addition we will invite the public to think about, and actively contribute to, an Instagram site called ‘Everybody Needs…’ Anybody is invited to share their version of their specific need, via photo, poem, artwork, or any other form of creative expression. |
| Which online platform/s do you intend to use to hold your event? Perhaps you could also include how you intend to use this platform creatively? |
| We will be creating a website and Instagram account. We’ll use Instagram to involve our audience and allow them to contribute to the event and we’ll use the website to host the event, display the work and via a live feed, answer any questions posed to us by the audience. The online event itself will be held via ZOOM. |
| When (day and time) the online event will take place? |
| Monday the 14th of December. 6:30pm |
| How do you intend to promote your online event? |
| Via word of mouth and direct contact to those who are relevant, and through social media to a wider audience. |
| Who will you attempt to engage from a context exterior to the University of Gloucestershire? As indicated in the brief, this could be an organisation or business, community group, neighbourhood, research department, club, space, place or individual practitioner. |
| We have contacted the National trust, Wildlife Trust, Woodland Trust, and the British Deer Association to request if they are interested in collaboration in this project. So far the National Trust have said no due to covid restrictions, but the Wildlife Trust have responded positively and we are now hoping we will get the go ahead to working with them. |
| How might you invite the above to contribute to your event in some way — As suggested in the brief, this could be as a guest speaker, participant or contributor, or as a host or site/space within which you hold your event. |
| Our current plans are to ask them to review and support our work, either in writing or preferably in person. We hope that a representative would be willing to introduce themselves, their organisation and our group during the live event. Other than that we hope they could include quotes, which analyse our work and the response of the audience to them, as well as offering information on their own organisation. |
| What audience, exterior to the University might you aim to engage? Remember – attracting the right audience is more important than the size of the audience. |
| Our audience will be those who enjoy, if not need to be in and around the natural world. Specifically for the Zoom event we will be targeting those who are actively looking to pursue a positive and creative activity within the landscape and are open to displaying and commenting on any work created by or for the collaborative group. For the Instagram event we are looking to engage the wider British public – anybody who wishes to share their love – and need of – nature. |
| Could you describe what experience you would like your audience to have? How do you intend on connecting with them, and / or ensuring your event is engaging / interactive? |
| We hope our work will encourage our audience to think about their own interactions with nature and inspire them to spend more time in the landscape, and maybe even go onto working creatively within the environment themselves. For the Zoom event we will be inviting our contacts personally, to create interest and guide their expectations and awareness. During the event itself we will interact by answering questions in order to engage further connection and awareness. On the Instagram site we plan to comment on as many posts as possible (we will all have access to the site) and to possibly highlight selected posts as stories. This should also help spreading knowledge of the site and connect people further, all under the umbrella of love and need of nature. |
19th Nov ’20
Terrene website
Terrene Instagram
@terrene_art_collective
19th Nov ’20
Artisit Bios for the website:
Maike Nielsen was born in Hamburg, Germany. At the age of six she surprised her parents by telling them she wanted to be a painter and live in England. Her parents insisted she learn a different profession first and so Maike spent many years in Engineering travelling the world. She always kept painting. Nine years ago, Maike could finally move to Cheltenham. She is now a British citizen and a student at the University of Gloucester for a Masters in Fine Art.
Maike draws her inspiration from nature and walking through the beautiful English countryside. In light of COVID and other recent political events her current practice explores our need for solace. Where do we find it? How can we give it?
Maike works in acrylics, inks, oil and mixed media, experimenting with surfaces and mark making. She carefully builds her paintings from many semi-transparent layers, creating depth and atmosphere through communicating layers of colour.
Deniz Turk is a multi-disciplinary creative focusing on photography and moving image,
based throughout the United Kingdom.
After working in London for seven years as a chef in both one and two michelin starred restaurants he went to study a B.A in fine art photography at the University of Gloucestershire and has since been fortunate to work with numerous private and commercial clients both in the United Kingdom and abroad.
His personal work focuses on documentary, political and conflict film and photography.
Artist Bio
Nathan Nash
Nathan has been studying the art of photography for over 12 years. Having completed his degree at the University of Gloucestershire he is know in the process of earning a Master’s in his chosen field. Since originally finishing his Photography Degree, Nathan worked as a Freelance photographer in Bristol, London, Cambridge and the Cotswold’s before joining various small galleries within Bristol as a curator. Since then he has gone on to teach A-level Photography at Cirencester College for the past 4 years.
Hi Peter,
Below is my artists statement for the website.
Cheers,
Nathan
Artist Statement
We all feel a connection with our home and the land that we live in. It is through simple actions and activities that we best explore and experience nature within our landscape. Days out with the family, walking dogs, these are typical activities which take up most of my time in nature, yet also yield some of my most treasured memories.
It is this connection I am aiming to explore in this project, my response to nature, my view of the landscape, and to discover what we need as people to live life to the fullest. Everybody needs the fresh air, everybody needs a sunset and a sunrise, everybody needs the cool winds and long views, and everybody needs colour be them green, brown, or blue … Everybody Needs a Life.
By Nathan Nash
20th Nov ’20
I had the idea to keep parity across the website via images of ourselves, I originally wanted to create large format portraits of all the members, but had to compromise due to covid. The compromise was Polaroids, that I created in photoshop (with the exception of mine, which is real).
22nd Nov ’20
Natural Trust reponse:
Dear Peter
Thank you for your enquiry about photographing at Dyrham. We are currently unable to accommodate no to low budget shoots. The demand for commercial shoots is as high as ever and we are struggling to manage those as many of our property staff are still furloughed and properties are closed. We are also understaffed in this office which is ongoing.
I suggest that if the project can wait that you contact us again in the New Year when we are hopefully in a better place to help
Thanks,
Sarah
Sarah Payne
This is really disappointing, but we will try to find an alternative.
22nd Nov ’20
So the alternative that I will try to contact is the Wildlife Trust. Here is a copy of my initial email:
From: Peter Britton <Peter.Britton@coleggwent.ac.uk>
Sent: 17 November 2020 21:25
To: Gemma Bode <gbode@gwentwildlife.org>
Subject: Art Project
Hello Gemma,
I am a fine art photographer and photographic lecturer, and I am currently working with Gavin Jones and Coleg Gwent on the living levels project to supply imagery for thier needs. My students are involved in the project and we have formed a fabulous collaboration…
I am emailing to let you know about a project idea that might interest you. I am currently studying for my Masters (MA) in Photography with University of Gloucestershire, and my current module requires myself and three other photographer/artist MA students to create a new project for the benefit of others. Our practice involves wellbeing and landscape.
We have come up with the idea of basing our collective project around the natural landscape, in particular woodlands and trees. This is a theme loved by all of us, and we have developed this theme so that each of us produce some new photographs/artworks of the natural environment. The theme/project title we have devised is simply called:
“Everyone needs…”
The idea is that each of us four artists/photographers complete the sentence to create our own sub-topic within the project. For example, my project is “Everyone Needs Trees”, and the other three projects are “Everyone Needs Perspective”, “Everyone Needs Solace” and “Everyone Needs Life”. The work will culminate in an online gallery (website), made by myself (you can see my own current website here – www.peter-britton.com – to give you an idea of professionalism).
The main question we would like to put to you is, would The Wildlife Trusts like to be officially involved? The work that will be produced is going to be a true reflection of the beauty of the landscape, and will be both conceptual and exciting. In terms of The Wildlife Trusts being involved in “Everyone Needs…”, it could be something as simple as offering us a statement about the work once it is completed…
I think this would be great promotion for The Wildlife Trusts as it is a good(will) story has several favourable outcomes for Woodland Trust (art, wellbeing and promotion).
I am eager to hear your thoughts, as we intend to start the creation process as soon as possible!
Kind regards,
Pete.
22nd Nov ’20
Wildlife Trust are in. I have a Zoom meeting planned to discuss things further.
From: Debbie Stenner <dstenner@gwentwildlife.org>
Sent: 25 November 2020 12:12
To: Gemma Bode <gbode@gwentwildlife.org>; Peter Britton <Peter.Britton@coleggwent.ac.uk>
Cc: Sarah Harris <sharris@gwentwildlife.org>
Subject: RE: Art Project
Hi Peter
Yes would definitely like to work with you on this and it fits with our Wilder Future project which we’ll be working on from around December and could present opportunities for us to publicise the works to engage others. Should we arrange a call in the first instance?
Best
Debbie
3rd Dec ’20
Myself and the Terrene collective have sent out our first invites to the launch evening. The structure for the the evening will run as follows:
- Pete to welcome participants, give a short outline of the event – 2 minutes
- Pete to introduce Gemma Bodé – 1 min
- Gemma to introduce Wildlife Trust are how their work relates to our project – 5 -10 mins (?)
- Pete to give a survey of the project (group members, why nature, one joint location and our interpretations, one personal location, link to Wildlife Trust – 5 mins
- Into to website (Pete to share screen) – 1 min
- Each member to introduce themselves and their take on Dyrham Park and nature/landscape/wellness each 5 mins = 20 mins
- Pete (?) to introduce the Instagram site – THANK YOU to all participants. Select a few examples? Encourage to keep participating – 3 mins
- Pete to explain auction process: via chat -3 mins
- Auction of 1 print 20×30 cm per group member (each of us to say which one) for Wildlife trust. Starting bid at £10 – 2 mins per print = 8 mins
- Questions via chat – 15- 20 mins
- Pete (?): Final Thank You
Here is a copy of the initial email invite. There will be two follow up emails to remind participants.
Hello all,
I would like to invite you to a very special evening. It would be a great pleasure if you could join us for the launch of TERRENE on Monday 14th December at 6.30pm, via zoom.
TERRENE is a collective of four like-minded artists, working alongside the Wildlife Trust, who are striving to impart the positive benefits of the natural world upon mental wellbeing via their arts practice. Comprised of Maike Nielsen, Denis Turk, Nathan Nash and Peter Britton, we are creating a collective body of artworks to be showcased on a new website, while also allowing individuals to participate in a collective Instagram group that allows you to tell us what you love about being out in nature.
On the evening, after an introduction from guest speaker Gemma Bodé (Director of Conservation, Gwent Wildlife Trust) we will launch our new website, introduce our brand new exciting individual work as response to the project and there will be a live charity auction.
Join us on Monday 14th December at 6.30pm for an hour or so by following this link:https://us02web.zoom.us/j/84614166760?pwd=cWcvaXpUTVl0WVNtNUhpWnk4VjZWZz09
Meeting ID: 846 1416 6760Passcode: 525110
So please join us! Please RSVP to this email so that we have an idea of participants for the evening.
Many thanks, and we look forward to seeing you,
Pete.
Peter Britton BA (Hons), PGCE, SFHEA
3rd Dec ’20
Shoot planning, Piercefield park.
Drone planning
Appendix A1: Form 02 – Pre-Site & Site Survey Form
| 2.1 | Client |
| Name: | Coleg Gwent – Piercefield |
| Company: | CG |
| Job Reference: | 001 CG/Piercefield |
| Intended date: | 06.12.20 |
| Weather on date: | Light cloud, light breeze |
| 2.2 | Pre-Site Visit | |
| Long Lat: & height AMSL | 51.655874, -2.683599 | |
| Client specific PPE | Hi Vis | |
| Vehicle access: | Car park adjacent, walking to site on foot – see appendices | |
| Airspace: | Describe permissions(A,B,C,D,E,F,G) NOTAMS | Class G airspace, no known NOTAMS, and will be investigated on morning of flight |
| Terrain: | Flat, Hilly, Urban, Water, Roads. | Flat take off/landing using launch mat. Terrain is flat. |
| Proximities: | Other aircraft, Airports, Helipads. | Not within drone flight range |
| Hazards: | Transmitters, Power Pylons etc. | Not within drone flight range |
| Restrictions: | Nuclear power, Prisons, Military. | Not within drone flight range |
| Sensitivities: | Nature reserves, Recreation areas. | Chepstow castle, and Chepstow town wall and gate. Chepstow racecourse. |
| People: | Local habitation. | Residential housing – Chepstow within two miles |
| Livestock: | Farms, Wildlife etc. | Birds, horses, dogs, rabbits, cattle, deer |
| Permissions: | Land owner, Local authority. | Gwent Wildlife Trust permissions |
| Footpaths: | Public footpaths, Bridleways. | Across network |
| Emergency Info: | Local Police: | 101 |
| Local ATC: | Sue Holly 01446 712575 Cardiff | |
| Local Hospital: | Chepstow Hosptial 01291636560 |
| 2.3 | Surrounding area info. |
| 2.4 | Site Survey | |
| Confirm info at 2.2 | ||
| Obstructions: | Masts, Wires, Buildings, Train lines, Trees, Lakes, Rivers etc. | Trees, foliage, waterways. |
| People: | Cordon requirement, Crowd Control. | 10m cordon, cones. |
| Livestock: | Farm animals, Dogs, Wildlife. | Wildlife – birds, horses, dogs, rabbits, cattle, deer |
| Proximity: | Public, Road Users. | Roads nearby |
| Take-Off: | Primary: See Appendix B | Secondary: |
| Landing: | Primary: See Appendix B | Secondary: |
| Comms: | n/a | |
| Other: | Complete and Attach risk assessment based on Pre-Site Visit & Site Survey. |
Risk Assessment
Location:
St Arvans, Chepstow, NP16 6EG
Chepstow
Monmouthshire
Completed by:
P Britton
Date Completed:
05/12/20
Job Reference:
001 CG/Piercefield
1. Hazard
(Something with the potential to cause harm, how will it be realised and what is the potential injury?)
2. At Risk
3. Existing Control Measures
Risk
7. Further Control Measures
Risk
4. Severity
5. Probability
6. Risk
4. Severity
5. Probability
6. Risk
UAS Losing control and falling to the ground causing personal injury.
A
UAS regularly inspected.
Visual check of UAS prior to take off.
Pre-deployment briefing to all staff on site
Pre deployment survey will be carried out during planning phase.
RF Check carried out to identify potential radio interference.
Flight planned to minimise likelihood of flying over people.
High winds or rain affect the capability of the UAS increasing risk of UAS malfunction resulting in collision.
A
Accurate weather forecast checked prior to deployment. The flight may be delayed or cancelled at any time if the weather risks the capability of the UAS.
Weather to be monitored at all times during flight with a view to landing should weather deteriorate.
UAS in airspace risking collision or near miss with other air users.
A
NOTAMS will be checked prior to flight for specific information relating to the deployment area.
UAS will remain below 122m (400 ft) at all times.
Public ingress in area of operation
Ensure site is controlled
Appropriate signage
Risk Assessment Sign off
(By Pilot other than person completing)
Name: Peter Britton
Date: 05/12/20
AT RISK (Column 2)
SEVERITY (Column 4 and 8)
PROBABILITY (Column 5 and 9)
RISK RATING (Column 6, 8 and 10
Severity x Probability – 1 to 5
LOW
E – Employees
1
No Injury, Property damage
1
Extremely Unlikely
May be acceptable, review to see if risk can be further reduced.
C – Clients
2
Minor Injury
2
Remotely Possible
Severity x Probability – 6 to 12
MEDIUM
V – Visitors
3
Reportable Injury
3
Will Possibly Occur
Only proceed with specialist personnel / safety team
P – Public
4
Major Injury / Single Fatality
4
Will Probably Occur
Severity x Probability – 12 to 25
HIGH
A – All
5
Multiple Fatalities
5
Almost Certain
5th Dec ’20
Photoshoot, Piercefield Park
This evening I visited Piercefield Park, in Chepstow to photograph for Terrene. I chose this location as it is a site owned by Gwent Wildlife Trust.
https://www.gwentwildlife.org/nature-reserves/piercefield-woods-nature-reserve
Another reason as to why I chose this location is because of all of the lone standing trees. I wanted to photograph the trees with a tripod mounted DSLR, but to illuminate the them from above with lights attached to my drone. As I arrived at around 6pm, the weather was less than favourable, with sleet pouring down and an icy wind. I was unsure if i would be able to fly the drone. Thankfully, the bad weather quickly abated and I achieved my forst shot on a 45 second exposure, with the drone illuminating from above. I attached LuneCubes to the drone. I am very impressed with these little studio lights.
One problem with the lumecubes is that they have magnetic filter attachments… whilst shooting the first tree, these played havoc with the internal compassing systems on the drone and I had to emergency land it. I took the filters off, and from there all was fine. It was a successful shoot, and in the company of owls and foxes I achieved the images I set out to.
7th Dec ’20
I have had several responses from publishers and online magazines about the Nights, Lights project… Most of which are complimentary but not willing to publish. Here are a few responses:
Apple:
Hi Peter
Thanks for your email to the Apple press office and my apologies for the delay in responding.
I love what you’ve done and the story so thank you for sharing it!
I think that in these strange times, it might be something that people would like to see (although we’ll have to be careful about inspiring people to go out too much!) so how would you feel about my sharing it with some media?
There’s no guarantee that there will be any coverage and these strange times make everything unpredictable but if you’d be open to it, I can keep your work on file should an opportunity arise.
Best
Nikki
iPhone PR
Hoxton mini press:
Hi Peter,
Many thanks for sending us your submission. We really appreciate you thinking of us for your project.
Ann and Martin have taken time to review it and feel that overall the project does not feel like quite the right fit for us. We are a very small team of five and can only take on a limited number of projects each year so we have to make sure each one we do is just the right fit and tone for Hoxton Mini Press.
We are very aware that it is never easy putting yourself / your work out there for others to review so we really appreciate you coming to us with this!
Best wishes,
Anna—-Anna De Pascale
V&A:
Hello Pete,
Thank you for your email. I have passed on your enquiry to the Word & Image department, who will respond to you directly in due course.
Please be aware that due to the closure of the museum, it may take longer to reply to you and their ability to assist with your enquiry may be affected. We will aim to reply within 21 working days but currently this may not always be possible. Thank you for your patience and understanding during these unusual circumstances.
Kind regards,
Su Lin | Contact Centre Advisor
But this one is very exciting. They want an outline for a book:
Papadakis books:
Dear Peter,
Thank you very much for your email.
We have had a look at your material and think that the project sounds interesting, however we would like to know a little more information at this stage. Please would you send us a slightly more detailed proposal, including selected images and perhaps more of an outline for the book. Do you plan on accompanying the images with text? If so, please would you send us a sample of the text.
I look forward to hearing from you.
Best wishes,
Megan
__ __ __
Megan Prudden Production PAPADAKIS
13th December ’20
Final prep to launch the website tomorrow:
You can see/read my section here:
https://www.terreneartcollective.com/peter-britton
The Sentinels
Trees. Majestic, beautiful lifeforms, that give so much; oxygen, respiration, irrigation, structure (both above and below the soil into which their deep roots delve). These photographs offer an insight into the immensity of these leviathans of the landscape.
The way we interact with a landscape is not a simple thing. Complex in many ways, the natural environment gives us a wealth of benefits. Exercise, visual stimulus, fresh breath, a clear mind. It is the inspiration of artists, and the escape to solace. The natural world is a wholly vital entity, that enhances our own physical and mental wellbeing. This understanding is a centre point in this project as I attempt to imbue the landscape with a palpable atmosphere by isolating these incredible natural structures.
Trees.
Everybody needs… trees.
14th December ’20
Tonight we had out launch evening, and it was super. It could not have gone better. We had 48 people attend on the evening, and we raised £152 for the Wildlife Trust via our print auction. It was an incredibly exciting event, was very well received and is something that we wish to emulate in around six months time, with a showcase of new work.
15th December ’20
I’ve had a few nice emails from attendees last night:
Peter,
Well done tonight I thought it went really well and all your artwork was amazing, in particular I loved your shots of Piercefield Park.
The auctions worked really well and with regard to the donation, which is very much appreciated, you can donate directly online via www.gwentwildlife.org/donate Or can pay directly into our bank account: Gwent Wildlife Trust, Lloyds, 30-95-71 and a/c 00162223
If we can help in any other way then do give me a shout
best wishes
Gemma
Living Landscapes Manager; Gwent Levels/Deputy Chief Executive
Cyfarwyddwr Cadwraeth, Dirprwy Brif Weithredwr
Hello Peter
I am Sarahj and I was the person who was successful in my bid for Deniz’s art work tonight. I need to send you £24:00 so please can you let me have the details.
I thought all your work was so special and that the sentiment of your subjects so strong. Well done to all of you and I will certainly stay in touch with all your work via your web site and Instagram.
Thank you.
Kind regards
Sarah
Trees at night – nice. Trees are utterly amazing.
Really interesting lighting them – unexpected.
I particularly liked Abysmal – stunning tree and the building in background added context and real drama to the composition.
Thank you for sharing.
Well done.
Peter Watkins-Hughes
Great launch Pete! I hope that went well as well as you hoped, it certainly seemed to…
The new drone images looked fab too!
Sash 😀
18th December ’20
My new website is doing very well, with new work receiving high praise. Via research, I have decided that a ‘store’ element would be good, as this will offer people the opportunity to purchase wall art and books.
18th December ’20
Nights, Lights, Love, Lyrics book
I have decided that Nights, Lights, Love, Lyrics should be a book. This will give me the opportunity to teach myself InDesign, and offer a further route for promotion, wider recognition and something to sell. So today I taught myself how to use InDesign, and I am very happy with the output.
There is introductory text, and a narrative that runs through:
Night, Lights, Love, Lyrics
From an early age, the sandy trails at Merthyr Mawr warren in South Wales have been my playground. Sunset walks with my father, spotting rabbits as they dashed into the brambles. Adventures with friends, making fires and building dens. Pellet gun wars, hiding in the disused rifle ranges. Beach parties, drinking MD 20/20 and collecting glow worms in jars. Mountain biking on the singed soil, after a summer blaze burned the bracken to cinders. The dunes have always been with me…
The work collected here centres around this unique ecosystem. This collection of images is a love letter. A love letter to not stopping. A love letter to running. A love letter to my favourite place. A love letter to music. A love letter to light. A love letter to technology. A love letter about love. It is an iPhone project that explores a sense of freedom and it is a complete departure from my usual photographic practice. I utilise a large format camera for a lot of my work, and I almost always have an SLR of some variety in my hand. This is the first project I have created that fits in around other passions – music and running. Normally, as the year draws to a close, the nights draw in and the weather turns colder, I stop running. I tend to run after work, off road, in my favourite environment – Newton and Merthyr Mawr dunes. Off road running, at night, in an environment that has no artificial light wasn’t a prospect that appealed, so I would always put running on hold until the evening light returned in March. But in 2019 that changed; I decided I would not stop. So one evening, after work, on a night filled with moonlight, I grabbed my phone, a torch, my headphones, the dog, and we ran.
And it was terrifying. Wonderfully, exhilaratingly terrifying. A lack of light, uneven terrain, noises from the woods, the moon shining through the trees… I ran like the wind. When I got back home I felt amazing. It was the best run I had been on for a long time. So I went again, the very next night. And again, the moon ran alongside me, and helped light my path. And it was then that I realised I had a camera in my pocket; my iPhone. So I aimed it at the moon through the trees and I fell in love. Darkness, torches, photography and music. Nights, lights, love, lyrics. An idea formed.
The following night I ran again, this time with a headtorch as well as my hand torch. I decided to illuminate the trees that scatter the sandy landscape. They proved to be the perfect subject matter, as trees are truly majestic, beautiful lifeforms, that give so much; oxygen, respiration, irrigation, structure (both above and below the soil into which their deep roots delve).
And I ran, and I photographed, and I listened, and I loved. That single hour per day became my release and my wellbeing. I decided that I would make a note of the lyrics that were playing at the time of image making, and they have become an accompanying narrative alongside the imagery; a narrative that mimics the thoughts that flowed through my mind as I ran. The way we interact with a landscape is not a simple thing. Complex in many ways, the natural environment gives us a wealth of benefits. Exercise, visual stimulus, ideas, fresh breath, a clear mind. It is the inspiration of artists, and the escape to solace. The natural world is a wholly vital entity, that enhances our own physical and mental wellbeing. This understanding is a centre point in this work, as I attempt to imbue the landscape with a palpable atmosphere by isolating these incredible natural structures, these leviathans of the landscape.
This work has educated me…
…in new music, in not stopping, in thought…
…in love.
Nights, lights, love, lyrics
As I run in the moonlight,
The sky is black immensity.
The universe seems merely indifferent,
Now the darkness has a hold on me.
The moonlight shines but I’m in the dark,
The myths of the modern age darken my door.
In that failing light I am pulling at the seams,
A wave comes crashing like a fist to the jaw.
I’ve got this light;
I’ll be around to grow.
Who I was before;
I cannot recall.
And I wonder where you are tonight,
If the one you’re with is a compromise.
Fill your glass with wine, make you smile,
All for you, fill your heart with pride.
I take a journey to the unknown,
The light in my hand shines long.
Crazy skies all wild above me now;
The rain falls like a sad song.
Bird has flown;
Cold evening.
Path well-worn;
River flowing.
Whose moon is it that shines down on me?
Pull me close and let me hold you in.
Meet me in the waning light,
So bright, now that it’s calling.
We shine our light across the ocean,
Free speech, lipstick in the moonlight.
I’ll never be that close again,
To your lips and perfect skin.
I had a dream,
I got everything I wanted.
Our paths met for a reason,
Like minds; truthful and honest.
Unknown, the unlit world of old,
You’re the sounds I never heard before.
Off the map where the wild things grow,
Another world outside my door.
Now I’m weaker than the palest blue,
But I was strong, strong in the sun.
Running through my woods with you,
I thought I’d see when day was done.
And when I run;
I fly, so high.
To dust we go;
Forgotten and absorbed.
Crimson moon lingers in the dark,
Everything happens for a reason.
Reaching out to embrace the random,
I will enfold your outstretched hand.
As we’re walking lines in parallel,
You have me, heart and soul.
You might never know it, girl,
But I am all yours.
Her; the heron,
Beautiful, now.
No trails left to run,
Maybe one, somehow.
I am ordering an initial run of twenty via a company called MIXAM, who, via extensive research, have exceptional reviews with regard to customer service and print quality.
The PDF is available here:
23rd Dec ’20
I have just delivered the commissioned piece, and it looked great, and the recipient was incredibly happy.
Float mounted aluminum print in a recessed black frame with black mount:
2nd Jan ’21
I have added items to my store area on the website:
https://www.peter-britton.com/store
6th Jan ’21
Career path
I think at this point it would be worthwhile examining my career path to this juncture, so that I can see where the new area of focus sits alongside my full time teaching career.
2002
I left full time education with a BA Hons in Media Production from University of Glamorgan.
| Income Stream | Percentage of Income |
| Adventures Activities Centre | 50% |
| Freelance Photography | 50% |
2003
In 2003 I was contacted by my lecturers in University of Glamorgan, as a colleague of theirs was on paternity leave, and a stand in was required. Turns out that was me, and my teaching career began.
| Income Stream | Percentage of Income |
| Uni Glam | 10% |
| Freelance Photography | 90% |
2004
The University of Glamorgan work increased and I was also offered the opportunity to work on a photography A level course and evening courses with Ystrad Mynach College.
| Income Stream | Percentage of Income |
| Teaching | 35% |
| Freelance Photography | 65% |
2007
In 2007 my responsibilities with Ystrad Mynach/Coleg Y Cymoedd increased as I validated a Foundation Degree with University of Wales Newport. This meant that my proportion of teaching time greatly increased.
| Income Stream | Percentage of Income |
| Teaching at Cymoedd | 40% |
| Freelance Photography | 20% |
| Teaching at USW | 40% |
2012
In 2012 I was offered the opportunity to cover hours on the FD in Photography at Coleg Gwent. The course tutor had a heart attack, and USW suggested me to Maria Retter, my now head of school as a part time replacement. I’ve been there ever since and am now course leader on the Foundation Degree Photography. I have written the deliverable content for the course in line with the demographic of the cohort. In addition to delivering level four and five modules, responsibilities include marking, communication, creating collaborations, compiling grades, marketing, promotion, organisation, course structure, research and preparation.
| Income Stream | Percentage of Income |
| Teaching at Cymoedd | 30% |
| Freelance Photography | 10% |
| Teaching at USW | 10% |
| Teaching at CG | 50% |
2018 onwards
In 2016 I achieved my PCET, and in 2018 I was given a full time contract with Coleg Gwent and left Cymoedd and USW. The freelance business has all but ceased, with a scattering of weddings and portraits. As such, I have started five-by-four – a large format portrait service.
| Income Stream | Percentage of Income |
| Freelance Photography (five by four) | 10% |
| Teaching at Coleg Gwent | 90% |
Projection for 2021
Once I finish the MA I want to continue to focus on education but to also attempt to break into the fine art side of photography. It would be incredible if I was capable of making a modest income from sales of my creative photography.
| Income Stream | Percentage of Income |
| Freelance Photography (five by four and creative photography) | 15% |
| Teaching at Coleg Gwent | 80% |
| Sponsorship and Grants | 5% |
6th Jan ’21
Five by four – my current freelance business
My current avenue of freelance photography is portraiture. For around 12 years I was a wedding and portrait photographer, and as my career focus narrowed to teaching, these two elements have slowly and desirably dwindled. In 2018 I decided that I wanted to remain relevant within the freelance world, but to enjoy an aspect of it. So I developed the idea of family portraiture, but through a niche area. I decided to photograph families in an area that is special to them, with a large format camera on 5×4 black and white film. It has been a successful niche, and one that I will continue, as I thoroughly enjoy it, and it sits alongside my new creative focus perfectly.
10th Jan ’21
My Nights, Lights books arrived today, and I am super pleased with them. I ordered an initial run of 20 copies.
Book Spec:
210mm x 297mm
Hardback matt laminate
Case bound
200gsm uncoated paper
108 pages
I’ve made it available for purchase on the website:
https://www.peter-britton.com/nights-lights-love-lyrics-photobook
And made a little promo vid:
11th Jan ’21
Started promoting the book half an hour ago, and I have seven sales to unknowns. I’m very chuffed.
11th Jan ’21
Submitted a copy of my new book to Mack first book award today:
13th Jan ’21
Conclusions
To conclude I feel as though I have used this learning opportunity to create a very strong starting place. My ‘test’ project (Nights, Lights) has provided knowledge and areas of positive refection, mainly via the creation of the book and the submission process. I will attempt to do better with my Petrichor work, and will progress from here via wider inclusion within artist networks. I have joined Artsy and a-n, and I will make more of these resources in coming months by engaging with the wider community. I am also investigating funding opportunities, mainly via Arts Council Wales.
As for Terrene, we will progress with the collective. Wildlife Trust want to remain involved, and as such we as a group intend to decide upon a new ‘everybody needs…’ and to have an online auction and reveal of the new work towards the end of 2021.
Bibliography
Artsy.net. 2020. Jasper Goodall | Twilight’s Path 030 – Moonrise (2019) | Available For Sale | Artsy. [online] Available at: <https://www.artsy.net/artwork/jasper-goodall-twilights-path-030-moonrise> [Accessed 24 October 2020].
Peter Britton 