The landscape is subject to tremendous transformations at the hands of human interaction. Through control, ownership, and appropriation we have flattened the land and gradually altered the ecosystem over our time on Earth. While there are locations across the globe that can truly be considered wilderness the same cannot be said for England. The landscape is always subject to change whether it be natural or artificial. This can be observed in how we modify the physical properties of land and how such changes are cartographically and photographically represented.

Parkland aims to explore the national park, in the south, and what its purpose is in England. The focus is placed on human constructions and how they interact and intersect with the surroundings they have been placed in. These structures represent an increasing urbanization and separation from any kind of wilderness we might remember. Yet they are also a key element of our landscapes that serve as historical markers for our presence. These structures add some character and diversity to the landscape as well as allowing greater ease of access and use of the natural space both directly and indirectly.

Within the series there are abandoned remnants of industry alongside modern infrastructural achievements conflicting with seemingly natural elements; yet these too are remnants; they are a sign of a landscape once untamed but now completely influenced by mankind in every way. Therefore this project is both a documentation of locations as they are now and a realisation of what once was. Remnants of our alterations will remain present on the landscape long after the original constructions have become obsolete.

Focussing on the Fawley Power Station, along the South Coast of England, this triptych of images explores themes revolving around abandonment and fossil fuels. The recent Paris conference on climate change, COP21, inspired me to focus on this location, a decommissioned power station, and the themes surrounding it around the climate. I have digitally manipulated each of these images to create an enhanced sense of abandonment, nearing on a post-apocalyptic atmosphere. My reasoning for this was to link the visual cues within the imagery with the speculation that we are starting to see an end to fossil fuels. The images are a vision of what could become of places like this if the use of fossil fuels completely ceased. In this theorized world of completely clean energy would places like Fawley become a relic in the future or a condemned reminder of the past.

Located next to the Fawley Power Station, along the South Coast of England, this area of woodland seems to have become some sort of wasteland; forgotten and ignored by almost everyone. Once used as a camp during World War II, leading up to D-Day, now it only serves the occasional rambler a route around the power station. Through it runs a decrepit pipe connecting the nearby Fawley Refinery with the now decommissioned power station. Cracked and crumbling concrete lines the floor, like trenches, in between the trees. Remnants of structures remain in trace amounts and there is an ominous hum from nearby pylons as well as the sporadic clattering of industry from across the solent, a constant reminder of the surroundings beyond the trees.

When considering the idea of a legacy these landscapes represent a natural world permanently affected by human interaction, therefore it discusses our potential legacy on the world’s landscape. Each of the locations presented are situated within the perimeter of the ‘Jurassic Coast’ therefore they also reference fossils. Actual humans are omitted from each image yet the non-living elements remain as a reminder of what our permanent physical impact on the landscape could look like to future archeologists.

Technofossils are what the legacy of this project revolve around; the man-made fossils that we could leave behind. The pictured objects were collected while on location photographing the landscapes, which form the other part of the legacy. Photographed in the studio, with the backgrounds later removed, the idea behind the series is to present the objects in a sort of archival form. Taking certain inspiration from the way in which museums display and archive current fossils, I attempted to present the objects as cleanly and accurately as possible. This is my vision of what fossils thousands of years in the future could become.

St Catherine’s Hill has a long history permeated in mystery. With these images photographed at night, using light painting techniques, my aim has been to conjure a feeling of mystery and magic in this ancient place. Alongside this there is a theme of the unnatural passing through the natural, the interaction of humans and nature. There are signs of this in the many paths and fences scattered across this area; though the light painting itself presents an uncanny like feeling.

The sea levels have continued to advance along the coast, over the last few decades, at a seemingly increasing rate. Partly a consequence of global warming and human interference; the oceans look to completely engulf many historic and quaint locations by the end of the century.

This project, presented as a series of landscapes, aims to document certain locations along the south coast of England that could be lost at some point in the not so distant future. Furthermore it explores places that have clearly been affected by the rising seas already in the form of erosion, landslides and flooding. There is also a secondary theme concerning how the public interacts with these coastal regions at present and what defences have been put in place to slow down or try and stop the effects of the sea on the land.

I have included six portraits with three being 'workshop' staff and three being 'station' staff. I think it is interesting to compare the details of their attire and environment next to each other to see how these people doing very different jobs at this same train line compare visually. Beyond the visual though they share mutual interests in the community aspect of the line as well as the interest in old trains and all interact daily. That was where my interest for this series gained its strength really. I was interested in what drives everyone at this line to work here and the general consensus was for the comradery/ community and keeping the old trains/ tools and ideas alive. The non-human photographs represent everyone's mutual interest, despite very different roles to play in the smooth running of the line.

A selection of crystals photographed in conjuction with a group based website design.

Preserved Land is a series based in Southampton’s Old Town. It is home to much of Southampton’s heritage including Bargate and the town walls. The preceding photographs are the result of an interest lead investigation of Old Town and places nearby. The chosen imagery all follow a similar motif; that centres around the state of Old Town now and how the newer structures and aspects compare, compliment or contrast to the old. The series also questions how well cared for certain sections of Old Town are compared to others and why this could be, relative to their location. I have found there are several areas of Old Town that appear to be well looked after, and are in the midst of new projects, while other areas appear to be far more neglected and forgotten. It is also quite interesting to see how much variance there is in architectural styles and general lack of uniformity around the old town. The sequence of the photographs takes an approximate route around the walls starting around West Quay and ending around Bargate.

I was asked to photograph, in studio conditions, and retouch 23 product shots with the goal of presenting the products in their best and most desirable forms.

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