BA Phot

LP&E : Assignment 2, Journey to Mammon

Due Late February

Back - submission - rework - development - contact sheets - tutor feedback

Brief - Introduction - Images - Reflection

Asg.1 - Asg.2 - Asg.3 - Asg.4 - Asg.5 - Asg.6 - Preamble - Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - I&P - C&N - EyV -

[ spellchecked  5Nov ]

LPE Asg.1
Box A
from Greenwich Peninsula, 4th February 2022


A Journey
Produce a series of approximately 12 photographs that are made on, or explore the idea of, a journey through a landscape.
The journey that you undertake may be as long or as short as you like. You may choose to re-examine a familiar route, such as a commute to work or another routine activity, or it may be a journey into unfamiliar territory. You may like to apply some of the psychogeographic methods explored within part 2. Travel by any means available.
Introduce your work with a supporting text (around 500 words ) that:
● Describes how you interpreted this brief.
● Describes how your work relates to aspects of photography and visual culture addressed in Part Two.
● Evaluates the strengths and weaknesses of your work, describing what you would have done differently or how you might develop this work further.
● Identifies what technical choices you made to help communicate your ideas, and also references relevant artists and photographers who have influenced the creative direction of your project.
● Considers which presentation method will best communicate the nature of your journey through the landscape to an audience.
● Explains your reasons for selecting particular views, and arriving at certain visual outcomes. How has the history of the landscape through which you travelled informed what you choose to photograph.
Look at the assessment criteria again. Think about how well you have done against the criteria and make notes in your learning log.
Send your work and your supporting text, as well as extracts from your learning log or link to your blog, to your tutor by the method you’ve agreed with them.
If you have any preliminary ideas about your critical review (Assignment Four), share these with your tutor now – or as soon as you feel ready.
Make sure that all work is clearly labelled with your name, student number and the assignment number. You don’t need to wait for your tutor’s response before starting Part Three. LP&E , pp.93-4


wolfe nelson slice george tear plinth woman knot unk clocks 2men flo
Box B
1. General James Wolfe, Greenwich Observatory
2. Lesley Povey, Nelson, 2009, Greenwich
3. Richard Wilson, A Slice of Reality, 2000, Greenwich Peninsular
4. George II, Greenwich University
5. Richard Hudson, Tear, 2018, Canary Wharf
6. Empty plinth, once home to Robert Milligan, slave trader, Canary Wharf
7. Sean Henry, Standing Woman, 2020 (detail), Canary Wharf
8. Richard Hudson, The Knot, 2018, Canary Wharf
9. Konstantin Grcic, Six Public Clocks (detail), 1999, Canary Wharf
10. Unidentified, (Hudson's, The Knot in the background), Canary Wharf
11. Giles Penny, Two Men on a Bench (detail), 1995, Canary Wharf
12. Henry Moore, Old Flo, 1957-8, Canary Wharf
© the artists, their agents or their estates


[3Feb22] The idea for this Assignment sprang from a piece of junk mail showing the towers of Canary Wharf from Greenwich Observatory. Aware of the significance of the financial centre to the country's prosperity and how this was encapsulated by its domination of the skyline, I decided to journey towards the towers, photographing  landmarks and always showing the towers in the background. This was soon refined to seeking public art for the foreground subject.

I found it incongruous at first to make vertical images of instinctually horizontal subjects, but as both highrise buildings and most public art is taller than it is wide, this was the logical choice. And consistency of format is important (or was, at least to my EyV tutor). I took some reassurance from my recent acquaintance with Robert Adams Listening to the River: Seasons in the American West (1994) which is comprised entirely of vertical landscapes.

It is an interesting experience to express such a duality: ostensibly seeking public art for subjects, I was actually photographing the towers of Canary Wharf. In retrospect, I seem to take this approach quite often, imagining viewers thinking that they (or perhaps I) am/are looking at one thing, then gradually realize that the underlying subject is something else. Examples are the overlays in I&P Assignment 5; dogs or people in I&P Assignment 3 and, to some extent, merging my body with a statue in C&N Assignment (Blackburn 2021a, 2021b and 2020).
Background as subject is confusing to photograph and hopefully it also confounds the audience a little.

An early intention was to label the images statue name and canary wharf but that would belabour the point and so it is just artist, statue name and location.

I am not aware of any direct read-across to the photographers in Part 2, although I admire the work of Weston and Baltz. I would still cite Brandt and Kenna as landscape influencers. My journey was more modest and local than those described in Part 2 and the photographs concentrated on the inanimate.

This series is complete both in terms of journey's end and the exhaustion of target subjects, but the device of showing two subjects, one variable, one (in some way) fixed has potential for re-use.

Word count 358


In the reflection on the first Assignment (Blackburn, 2021c), I referred to and defined "strong" images and I intend to expand on that idea as this course progresses. Ideally, each image in a submission should have merit in itself and also contribute to the series as a whole. John Szarkowski wrote of photography as an "act of pointing" (quoted by Stephen Shore in his memorial essay for Szarkowski, 2008) that might "elevate the act of pointing to a creative plane", bringing sights " to our attention … that had been unseen before, or seen dumbly, without comprehension." Making photographs that provide an original view of their subjects is one of my aims in depicting urban landscapes. I believe that this series does so.

As noted in the introduction, this task, as the plan developed, provided an interesting challenge in always showing two subjects, one of them constant. While I have learned on this course to be more aware of backgrounds, my approach for this assignment promoted the background to equal status with the foreground subject. The implications and demands which that made on lens choice and depth of field added to the creative options.

Looking at progress on the Learning Outcomes:

L01 visual and conceptual strategies - this is, as far as I am aware, an original approach. If it is derivative, it is unknowingly so.

L02 social, cultural and ethical considerations - the subtle secondary purpose of this series is to imply the pervasive power, influence and effect of the financial service industries in the UK economy. The images seek to do this by stealth and the casual viewer may remain unaware of the intention.

L03 exploring a range of ideas - The nature of this series, while retaining its core concept of dual subjects, developed a more coherent purpose over the first few forays. The progress and thought processes during the project are described in the online blog (Blackburn, 2021d).

L04 research, managing time and resources - Seven visits were made to various sites for this Assignment. The main constraints were personal health issues and the weather: happily, Covid restrictions (other than those of personal choice) were lifted towards the end of the process.

L05 autonomy, voice, and communication -
I continue to interact wherever possible with fellow students in general and course-specific forums and in the wider photographic circles of LIP (London Independent Photography), RPS (Royal Photographic Society) and elsewhere.
I am content with progress on my autonomous voice.

Word count 403

LPE Assignment 2 References

Alexander, J, Conroy, A, Hughes, A, & Lundy, G (2019) Landscape, Place and Environment [LPE]. Barnsley: Open College of the Arts.

Blackburn, N. (2020) Submission [online]. Available from [Accessed 26 February 2022].

Blackburn, N. (2021a) Eltham Archive [online]. Available from [Accessed 26 February 2022].

Blackburn, N. (2021b) 100 Dogs [online]. Available from [Accessed 26 February 2022].

Blackburn, N. (2021c) Aspects of the Vauxhall Crossing [online]. Available from [Accessed 26 February 2022].

Blackburn, N. (2021d) Blog [online]. Available from [Accessed 26 February 2022].

Canary Wharf Group (n.d.) Canary Wharf Art Map [online]. Available from [Accessed 11 February 2022].

Greenwich Peninsula (2022) CLUBHOUSE ON THE TIDE [online]. Available from [Accessed 11 February 2022].

Shore, S. (2008) Memorial for John Szarkowski, Century Association Yearbook [online]. Available from [Accessed 25 February 2022].

The Line (n.d.) The Line, Map [online]. Available from [Accessed 11 February 2022].

Wikipedia (2022a) List of public art in the Royal Borough of Greenwich [online]. Available from [Accessed 11 February 2022].

Wikipedia (2022b) List of public art in the London Borough of Tower Hamlets [online]. Available from [Accessed 11 February 2022].

Page created 02-Feb-2022 | Page updated 05-Nov-2022