The main objective of this shoot was to get out and explore the local area close to my home, and to get a handle on the Mamiya RZ67 as I had previously not used this camera. I was mainly preoccupied with the many concrete structures that exist in the Hotwells vicinity, and I wanted to photograph them from quite a distance. I set myself visual parameters to abide by, which were to select one point on a map and to travel there by any route that feels like the most appropriate at the time. I was therefore, responding instinctively to the environment, and photographing what I found interesting.
After conducting initial research into Foucault’s theory on heterotopias and non-places, I felt like the places in which I found myself navigating through had a renewed interest, and were no longer just concrete structures. The idea of landscape photography being an active thing and a process that must contain “three verities” (Adams, R. 1981) for it to be successful is something that definitely had an effect on me whilst out on location. Clearly with these environments, there exists a geographical aspect. They are places which exist in the world and occupy space. Through the act of photographing them, I am choosing to communicate a 6x7cm frame to an audience, describing their physical properties. This also means that there is an autobiographical element to these landscape photographs, as I am revealing a part of personality to the viewer. I am obsessed by the dynamics of a city, and therefore my choice of subject matter is reflected through this interest. I enjoy finding beauty in the banal. The final verity that Adams identifies as significant in landscape image making is metaphor, and I believe that this project deals with this concern. These non-places could be viewed as metaphorical for the transitional nature of life itself, and the fragility of time. These places stand alone, requiring no external forces, yet only seem to exist for the purpose of transporting people from one place to the next. By actively seeking out these strange places and taking time to construct a frame, I am perhaps subverting the norm of what these places are intended to do.