Assignment 4 further reading

Helen suggested I look at the works of Edgar Martin, in particular, the image series ‘When Light Casts No Shadow 2008‘[1].  This particular series was created at night on various airports around the world with special airside access.  The long exposures have been used to create a very abstract very lonely and series of images.  Image 122.jpg is a 3 hour exposure and appears to be a light trail, there is no indication of what created the light trail but it is very symmetrical and if the image was taken out of series I would not know what it was or how it had been created.

The other identifying point to this series is that the runways/taxiways are all of black tarmac and which allow the painted lines to stand out, as mentioned in the series description this is quite unique as most runways tend to be a grey concrete colour.  The black also adds an eeriness and soace to the images. The negative space allows the eye to focus on the positive space such as the lines and light trails, the sense of the scale of the lines also makes the vehicle and aircraft in the following images appear to be toys,   023.jpg[3] 033.jpg[4] . On reviewing the series I do feel the first image of the lady standing by the wall of the terminal building is a little out of place, although I think its a well lit and balanced image it stands apart from the abstract lines of the rest of the images.

I’m praticularly drawn to the series of ‘This is not a house 2008’[5].  I like empty vistas and dereliction, the absence of man and what he’s left behind.   Not quite like the images of Keith Arnatt [6] but of those similar to Rebecca Bathory[7] and Lady Schnapps [8]. Relating to empty new buyild houses following the subprime mortgage market collapse in 2007 that triggered the current financial crisis.  The images (but 1) show empty and sometimes vandalised new homes or rooms, housing estates and co mmercial developments that simply were not completed and stand derelict across the US.  The images lead the viewer into a snapshot of an era of depression, the empty homes ask questions as to whether they will be ever completed or occupied,  piles of rubbish, broken windows, unused building materials and furniture show some form human presence since the builders left. Image 34 [8]is a yellow and purple house with rubbish piled in front of it, there is a darkness to this image, perhaps the financial cloud itself, due to the vignette that draws the eye straight to the house and the rubbish then tells the story.  Comparing this to a similar house in image 33 [9]but with a nice sunny perspective tells a completely different story.

[1], [2], [3] & [4] ‘When Light Casts no Shadow’, 2008 Edgar Martin. – Accessed 21 January 2018

[5], [8] & [9]’This is not a house’, 2008 Edgar Martin. – Accessed 21 January 2018

[6] Keith Arnatt ‘Pictures from a rubbish tip’ 1988-89. accessed 21 January 2018

[7] Rebecca Bathory ‘Orphans of time’. accessed 21 January 2018

[8] Lady Schnapps ‘Asile des Alienes (FR)’ – accessed 21 January 2018.

Back to Assignment 4


Assignment 5 – further reflection

Part of the feedback from my Tutor for assignment 5 included the following photographers:

Sarah Lee – accessed 22/01/2018

George Giorgiou – accessed 22/01/2018

Thomas Kellner – accessed 22/01/2018

I looked at the work of Sarah Lee, the images have a nice colour pallette bright and in most cases light even through they are at night she uses the available light.  Most of the people are going about their business, sitting on the bus or just waiting around for a bus. They are in their own worlds wirther reflecting on what is going on in their heads or being taken away from the journey by a book to pass away the time.  Some of the commuters have recognised the camera and there are looks ranging from interest to discontent.   I particulartly like the image of the man behind hte condensation on the window, there is an element of intrigue here, what does he look like, who is he, do I know him.  You also felel like you wnt to reach out and draw a smiley face into the condensation so you can see him peak though.

George has sat on a bus and taken photographs of the life that passes by him on the journey, normal people going about their business.  These are images you see everyday on the bus when you look out of the window, they are image sthat you see and then quickly dismiss from your memory as they are just normal like.  I saw the image of the tyre fitting workshop, I immediately recognised this as it’s a 5 minute walk down the canal from me, it no longer exists as most of that area is being regenerated.  A moment in time which is now lost, just like our memory of the journey and the fleeting billoard advertisement of Davina McCall and the hair colouring.

I love the abstract works of Thomas Kellner.  The monuments of Big Ben (the Elizabeth Tower) and the Eiffel Tower are amazing.  csm_02_01_a72c8dcf7e.jpg (accessed 22/01/2018)


They remind me of a Transfomer robot toy or a kaleidoscope image.  The framing of each image with the film frame adds an extra layer away from the actual individual frames.  There are pages (accessed 22/01/2018) from his noteook on the Eiffel tower which give an insight into how these images have been constructed and layered to produce the final output.  Very impressive and a tick in the box for me to attempt!

Assignment 5 – Contact sheets

All images created during assignment 5 are shown below.Ass5 - Carl Goodwin -516037 - Contact sheet-01Ass5 - Carl Goodwin -516037 - Contact sheet-02Ass5 - Carl Goodwin -516037 - Contact sheet-03Ass5 - Carl Goodwin -516037 - Contact sheet-04Ass5 - Carl Goodwin -516037 - Contact sheet-05Ass5 - Carl Goodwin -516037 - Contact sheet-06Ass5 - Carl Goodwin -516037 - Contact sheet-07Ass5 - Carl Goodwin -516037 - Contact sheet-08Ass5 - Carl Goodwin -516037 - Contact sheet-09Ass5 - Carl Goodwin -516037 - Contact sheet-10Ass5 - Carl Goodwin -516037 - Contact sheet-11Ass5 - Carl Goodwin -516037 - Contact sheet-12Ass5 - Carl Goodwin -516037 - Contact sheet-13

Assignment 5 Photography is Simple

Assignment 5 Photography is Simple


This extract has been taken from the OCA handbook.

Take a series of 10 photographs of any subject of your own choosing.  Each photograph must be a unique view of the same subject.  I other words, it must contain some ‘new information’ rather than repeat the information of the previous image.  Pay attention to the order of the series; if you’re submitting prints, number them on the back. There should be a clear sense of development through the sequence.

Assignment 5

Link to Exercise 5.2

Contact sheets

Contact sheet Assignment 5 Final Images

Contact sheets for all images in this assignment

How I’ve compiled the contact sheets can be read here.

Reflection on assignment feedback is at the bottom of this page.

Images for assignment

Image 01-EYV Assignment 5- 516037-07012018

Image 1

Image 02-EYV Assignment 5- 516037-07012018-2

Image 2

Image 03-EYV Assignment 5- 516037-07012018

Image 3

Image 04-EYV Assignment 5- 516037-07012018

Image 4

Image 05-EYV Assignment 5- 516037-07012018

Image 5

Image 06-EYV Assignment 5- 516037-07012018

Image 6

Image 07-EYV Assignment 5- 516037-07012018-2

Image 7

Image 08-EYV Assignment 5- 516037-07012018-2

Image 8

Image 09-EYV Assignment 5- 516037-07012018

Image 9

Image 10-EYV Assignment 5- 516037-07012018

Image 10


This is my final assignment for EYV.  The images above were created on a Sunday afternoon, thankfully for this time of year the weather was clear and with a light wind but bitterly cold and as you would expect along the River Thames a little draughty at time on the bridges and around Embankment.

I began looking at the London Eye for this assignment.  I see it all the time, it dominates the London skyline and is one of the most recognisable elements that can be seen for miles around.    Because of  this it must have been photographed millions of times, most of them will look very similar,  the standard generic ‘tourist’ photographs.  My challenge was to look at something different of the same subject.  I see this every day when I go to and from work when I leave the underground station.  I was initially drawn to the colours, a simple red target sitting amidst the clutter on the Thames.   I took a few pics with my phone, each one is different and contains other elemsnts such as cranes, fences, construction sites.  As a subject it’s pretty small in the frame so as Robert Capa was quoted as saying:

“If your photographs aren’t good enough, you’re not close enough”


I undertook an internet image search of the London Eye, most of the image results returned were the generic ones of the Eye itself, the sort of image you would see on tourist promotional literature.  I didn’t want mimic those images and so focussed on the unique aspects of the Eye itself, how it fits into its surroundings and architecture/or not and the nature elements.  My original thoughts were to look at evening images as per the test shots and either the different lighting elements or light effects, however I quickly dismissed that as I looked at night images in my last assignment.

I think the images above set out what I wanted to cover, the later afternoon sunshine adds a different element to the lighting and how the Eye appears, also by framing with tree branches or construction cranes they add the natural and surroundings elements I was looking for.  The bird images I decided to leave in the series as they again add a different dimension and the gull on the bridge seems to be looking at the Eye aswell.

Reflection on assignment feedback

I received feedback on my assignment submission and following this I have updated this blog post.

Helen wanted to see all of the images taken and I have now uploaded these (link above), all of the images for this shoot were taken on the same afternoon.

I had failed to link in my response to exercise 5.2 link is above.

Although images 3,4,5,6 are all diffreent aspects of the same subject Helen feels that the differences are too subtle, for example does the gull on the bridge add any value to the image.  I should select the strongest of the 4 images.  Based on this feedback I have selected image 3, this image contains the framing of tree branches on the right if the frame.  I feel this not only shows he subject the framing ties back into the nature element I mentioned earlier but this also ties back into image 1. I’ve also submitted 3 additional images and these are below.

The first image is of a merry go round on the Southbank and near to the Eye.  The wheel is appearing above the colourful merry go round, it shows that other businesses set up to ply the passing tourists going to and from the Eye itself.  There is a flagpole behind this flying the union flag but also mittors the flags on the roundabout itself, we’ve also got trees on the embankment reaching up and towards the Eye.

The second new image is of the lower portion of the Eye, it shows the tree lined embankment where each tree seems to have a street light partner.  the street lights are lit with the same colour of the sky in the background.  The Eye sits between these trees and the streetlights and is overlooking parliament in the lower right of the frame.

The final image is taken towards the Eye, the trees dominate the fore and middle ground,  providing strong lead in lines to the Eye which can be made out in the background.  The 2 strong supportling legs spring out of the middle and point up  in an inverted V.  Circular passenger pods can be seen nestling within the tree branches.

A5-CarlGoodwin -516037-Image-13

A5-CarlGoodwin -516037-Image-12

A5-CarlGoodwin -516037-Image-11

I will address the new images into the revised contact sheet here and revise the image ordering prior to submitting for assessment.

Image 7 I’ve decided to leave alone, I like the image istself even though I prefer it in a vertical crop I like the flag as something new to the frame but with a hint of the branches below.

Finally I was very much inspired by the links Helen provided to the works of Sarah Lee, George Giorgiou and Thomas Kellner.  I looked at their image sets today and my thoughts are written up here. I had not thought to photograph the subject in an abstract way such as Thomas Kellner or from a bus window such as George Giorgiou.

Sarah Lee – accessed 22/01/2018

George Giorgiou - accessed 22/01/2018

Thomas Kellner – accessed 22/01/2018

The revised contact sheet of images is below, following revision of the final image set I printed the images onto plain paper and cut them out, the images I then laid out ontomy desk and moved around to decide which options suited the final images.  Due to limited space I found it easier and quicker to print a small set of images.

The final layout is shown below.


Ass5 - Carl Goodwin - 516037 - final contact sheet

Revised Final contact sheet for submission.



[1] accessed 22/01/2018


Assignment 4 response to feedback

Very pleased that Helen turned around my feedback to this assignment really quickly, the feedback is better than I expected overall so I’m pleased here.

Things to attend to and reflect on:

  • I submitted the assignment digitally.  My tutor would like to see the prints from this particularly as they are dark to ensure the shadows are captured.  In addition, Helen has asked me to consider a good quality lustre or fine are baryta.  Not to forget the borders as fingerprints on dark prints show up.  The suggestion is to speak to my lab and to then write this up.

I’ve printed all of the images onto Baryta and also on a satin paper, these have been included with assignment 5 for review. All of the images have a 2cm white border and on the reverse, all of the images are labelled with:

  • my name,
  • student number,
  • image name (number in this instance)
  • paper used.

This was also a suggestion in feedback from assignment 3.  The label has been affixed to the bottom right of the image to aid in orientation and identification.

I’ve taken on board comments from Helen regarding inspecting the actual prints and comparing the 2 types of paper used.   The Baryta paper is a little brighter in the whites and has more definition in the darker tones of black, in particular as most of these images are quite dark anyway.  I do feel however the pearl paper has certain colours (yellow) that are far brighter but also some of the highlights are just a little too bright but the paper suits the spinning propeller discs.  I reviewed the individual prints and decided to select the Baryta paper as my paper of choice for this assignment.

Helen would like to see my brainstorming of ideas in response to this brief

Image 1 Helen asked to see the original unedited image – Image is below and I’ve also uploaded with my assignment 5 images.

ASS4 Image 1 Original-1

  • Image 2 and 3 – feels that these are the least fit within the series

I can see why these don’t necessarily fit within the series, they are darker than most of the others and the subject is darker in the frame overall.

  • Image 6 Ties in with Edgar Martin – photographer to research
  • Images 8 & 9 Images have echoes of James Goggin.  Suggestion to use a smaller aperture and experiment with f11 or f16 is suggested to get more in focus
  • reflection on how to approach next section and write this up.


Write up of exercises 4.1, 4.2 and 4.3 are missing.

Write-ups of exercises for part 2 & 3

The exercise write-ups are in progress and should be finally completed mid-late January.

Learning Log

Research for A4 needs to be written up in greater detail and referenced as it’s thinner than A3

Suggested reading

I think you’d enjoy looking at the work of Dan Holdsworth, and reading as much material as you can find on his approach and intentions. in-southampton/

Also the technically ambitious works of Edgar Martins… Do-I-Know-what-I-Know….pdf

The cinematic quality in some of your images and those of say James Goggin, also reminds me of the work of Julia Fullerton Batten, whose staged imagery relies upon artificial lighting in outdoor locations…



Assignment 4 – Contact sheets

All of the images shown on the attached contact sheets are the intellectual property and copyright of Carl Goodwin.  They cannot be copied without express written permission from the owner, i.e. me.

Instructions on how I’ve compiled the contact sheets can be read here.

Due to a large number of images, there are numerous contact sheets attached.  To return to the assignment write up please click here.

Assignment 4 Contact Sheet marked up



Assignment 4 Light


This extract has been taken from the OCA handbook. Revisit one of the exercises on daylight, artificial light or studio light from Part Four (4.2, 4.3 or 4.4) and prepare it for formal assignment submission:

• Create a set of between six and ten finished images. For the images to work naturally as a series there should be a linking theme, for instance, a subject, or a particular period of time.

• Include annotated contact sheets of all of the photographs that you’ve shot for the exercise (see notes on the contact sheet in Part Three).

• Assignment notes are an important part of every assignment. Begin your notes with an introduction outlining why you selected this particular exercise for the assignment, followed by a description of your ‘process’ (the series of steps you took to make the photographs). Reference at least one of the photographers mentioned in Part Four in your assignment notes, showing how their approach to light might link into your own work. Conclude your notes with a personal reflection on how you’ve developed the exercise in order to meet the descriptors of the Creativity criteria. Write 500–1,000 words.

Include a link (or scanned pages) to Exercise 4.5 in your learning log for your tutor’s comments.

Exercise 4.5

My Final image below from exercise 4.5 leads into this assignment and the early evening, night images, the theme of aircraft is well represented although they are all static aircraft elements such as the natural lit skies, constant artificial lighting, moving wings, propellers and light trails add movement to the images to set them apart from a static airframe represented in the Google searches.

Exercise 4.5 final


Contact sheets

A4 mindmapMy image selection for this assignment spanned 5 separate events, I have not selected the entire set of images for each event but those that covered the evening elements of those events.  The Contact sheets have been added to a separate blog post here rather than bulk out this post.

All of the images shown on the attached contact sheets are the intellectual property and copyright of Carl Goodwin.  They cannot be copied without express written permission from the owner, i.e. me.

How I’ve compiled the contact sheets can be read here.


The final image set was printed onto plain A4 paper and trimmed, following this I’ve experimented with final layouts of the images, this will be useful when compiling the assessment images.  I think this works best with the subjects and type of shot, top row are moving light, 2nd row modern jets, 3rd row Avro Lancaster and bootm rown are blue hour images.


Images for assignment

Assignment 4 contact sheet final(1) marked up with camera settings and file numbers.


I struggled very much with this one as far as aircraft imagery was concerned, very few available images were shown as the blue hour and with a google search they turned out to be not actually of the blue hour but contained blue skies or sunset images.  There are a huge number of aviation photographers out there and typically the imagery represents aircraft in daylight.

Andy Rouse a renowned wildlife and aviation photographer accessed 19/11/2017.  In preparation for the air to air session, I attended a talk at Park Cameras in London on 24th June 2017.  Andy spoke for around 1 hour on aviation imagery, his images and I asked some questions on what to expect for an A2A with Peter and his Mustang.  Suggested camera settings and preparation were also discussed.

Andy tends to look at aviation imagery differently to some of the normal images you see that enthusiasts and professionals tend to create at airshows.  He looks for the drama in the image, fast jets with afterburner and exhaust gas heat trails and wing vapour.  The plane does not need to be easily discernable.  I’m drawn to the following images of his:

cover.jpg This is a current Typhoon fighter (same type as in my image 9 above).  The jet is seen here pulling up and has good light on the upper wing surfaces detailing the world war 2 colour scheme for that display season.  The engines are glowing red from the afterburner and the heat distortion looks like jelly coming out of the back.

cover.jpg The second image is a Sea Vixen, the setting sun is reflecting of a calm sea but that also casts a lovely surface pattern.  There is still enough light so the plane is not in full silhouette and the upper surfaces have a nice highlight to them.  The exhaust heat is creating a nice distortion effect to the sea surface below.

James Goggin Some very beautiful aircraft images on this website, unfortunately, the web design doesn’t allow a capture of the actual images.  There are 2 that I really like, the first is the header image.   This world war one biplane is nicely lit long exposure image at the blue hour with the engine running.  Although the aircraft is static the spinning propellor adds movement so it’s not a dead aircraft.   The second image I really like is  JG-17-90768.CR2 of 2 Mk1 Spitfires from Flying Legends series, the symmetry of the 2 aircraft with their early war paint schemes is a nicely timed image.  Although the blue sky is a little plain as a backdrop the image is very well lit, and as an aviation photographer, you don’t have any control over when the clouds do or don’t put in an appearance. accessed 19/11/2017

Mark Jayne This particular image is taken as the jets perform low-level training exercises.  There are places around the UK that planes will fly at high speed through the mountain passes and quite often lower than the photographers themselves.  In this image MJA_7096.jpg the F15 is on its starboard wing and vapour trails are forming from the wingtips.  Nice highlights to the upper surfaces with a nicely lit underside gives a good contrast to the upper part of the aircraft which is in the shade.  accessed 19/11/2017

Centre of aviation Photography I’ve been on a couple of events with them this year, they allow great access/sites aircraft that you would not normally be able to get to view up a close. I must credit them with my access to the Typhoon, Tornado and A400M at RAF Coningsby used in my final image set. accessed 19/11/2017

Timeline Events accessed 19/11/2017 provided access so that I could create the images supplied for the Mustang and Just Jane events.