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Final Major Project Evaluation

This project, as expected, has been a stressful, but also fairly enjoyable experience.  Beginning in December with my presentation of test shots and ideas about what I was going to do for my project, it developed into other ideas during tutorials and after shooting a few shots and assessing the results.  I was not happy with the direction these ideas were taking, as you can see from the early posts on my blog, there was no cohesive idea behind the work.  I did not feel motivated to keep photographing in the same areas again.  I was lucky enough to have the opportunity, through Jamie’s introduction, to go and do a more industrial based project, which has always been one of the ideas I wanted to pursue.

 

This process of the initial meetings and showing and discussing my portfolio and ideas with Huntsman was daunting at first, but I felt I handled the situation fairly well, and got the outcome I wanted, which meant I got access to the site.  I then had a site visit to assess what I wanted to photograph, and after this visit I had to arrange when I could go back to shoot for real.  This process was all very slow and after the initial setbacks with my first project I felt nervous about the time constraints.  Although I had been researching and working on other ideas, I felt like I was not making the progress I should have by this point of the project.  Finding a suitable time when the people who would show me around the site were going to be available was also difficult, and I had to make quite a few phone calls to get these visits arranged.

 

Once I got into the site however, it was much easier to make arrangements in person by looking at each other’s calendars.  I had 4 site visits of roughly 3-4 hours each time.  More time would have been ideal, but by the time I had arranged all of these visits I would have been running out of time for the printing and editing process.

 

I enjoyed the process of shooting on a location like this site very much, although being supervised and having to wear safety equipment made the process a little bit more stressful than usual, I feel I handled it well and got quite a lot of shots that I am pleased with.

 

When I look at the series of images I took during my 4 visits, I am fairly pleased with at least half of them.  Some of the photographs were not to the standard I would have liked as I have mentioned on the research blog.  But I also feel that if I had extra time, after looking at my images more carefully and realizing I had the beginnings of a couple of types of series, I could have gone back to re-shoot some more and added extra images to strengthen one of these series.

 

I chose to go with 9 final images, to reduce the amount of repetition within my series, which was a mistake I made with my minor project.  With my series I decided to include one portrait, which I think is one of the strongest photographs from the whole project.  I also used this portrait to break up the series into two sections.  One series of 4 based around the “white end” of the pigment plant, and the other section is a series of 4 more colourful images.  Although I think I have omitted some very strong images, I feel that these images did not fit within the series without making it weighted one way or the other, or too repetitive.

 

When printing these images in the darkroom I tried to tie in the main colours so that they flowed as a series without having any glaringly different colour casts.  I also focused on bringing images together that had a strong line running through the centre of each image to make the images stylistically and aesthetically similar.

 

There is a noticeable lack of human presence in the images also, with the exception of the portrait.  Even though this was a working plant and I was photographing during the day.  This was a deliberate decision as there are a small number of people running each section of the plant.  You can see even in some of the vast spaces there is no body present.  However, the motion blur of a wire or a wheel in the images gives the sense of a working site.

 

Rather than documenting a process from start to finish, I decided to focus on objects, shapes, textures and colours I found interesting on the site, drawing peoples attentions to the complex workings of a site that creates a product that we take for granted as being readily available.  I did not want to be political in my intentions when photographing on the site, but just to be objective and look at, explore and eventually show people my findings with my final prints.

 

The colour darkroom process was much more enjoyable for this project than for my minor project due to the fact I had finally got used to working in there and was much more confident in my ability to create a good quality print.  I feel that these prints are some of my best prints from my time at the college so far.

This image shows how I would like my images displayed if I was to exhibit them properly.  I liked the 2 different parts of the series laid on in a grid formation with the portrait use to break the 2 halves up.  
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This image shows how I would like my images displayed if I was to exhibit them properly.  I liked the 2 different parts of the series laid on in a grid formation with the portrait use to break the 2 halves up.  

fmpmajor
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info
FINAL SERIES These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it. I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves. I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one. Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition. If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work. For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.
Zoom Info

FINAL SERIES

These are my final chosen series.  It is not too dissimilar from the previous selection below, but in a slightly different order.  I decided to break up the landscape images with the portrait as I felt the portrait was not a fitting ending to the series as in a way it should be used more as a punctuation within the series to break up the images.  the man is also an integral part of the plant, so should be included as part of it.

I decided to change one of the images altogether because I was not happy with the framing, which was not as successful as I had hoped it would have been.  I replaced it with another image of tanks, but on a similar white theme to the original image that was included, due to the pigment seen on the ground/colour of the tanks themselves.

I feel the portrait also works to break the series up into two seperate parts, a pale/white part, and a more colourful one.

Although there are still faults here and there I am rather proud of my final images and the respective prints, and i think the series flows well enough without having too much repetition.

If I was to display this in a gallery, I would ideally prefer the images to be much bigger, closer to the scale of Mark Powers work.

For my final degree show, I may get some larger digital prints made of some of these images to display a smaller selection at the size I would have intended them to be.  I printed them at 20x24 inches in the darkroom because i wanted to make the prints by hand myself to match the rest of my large format portfolio work, such as my Minor project (Billingham Beck Valley) and others.

fmpmajor
These pictures show part of the editing process after I had finished printing all my images in the darkroom.  Myself, Antony and Jamie all discussed different ways of displaying the images.  We all came to the conclusion that the portrait should definitely be bigger, sort of closer to the height of the other 2 landscape images it is next to.  I have then taken the ideas we discussed during this process and made my own final series which is in the next post. These 3 images show how we narrowed the series down gradually from 12 possible images to 8.  they were chosen in pairs which are displayed above and below each other.  e.g 2 white images 2, close up images…and so on.  there also appears to be a running theme of a solid line which runs through the centre of every image.  The picture of the red tanks also kind of correllated with the picture of the filter press (gold/orange coloured image) due to the repeated black and yellow lines and the repetition of the filter press itself. Each image is also devoid of human presence.
Zoom Info
These pictures show part of the editing process after I had finished printing all my images in the darkroom.  Myself, Antony and Jamie all discussed different ways of displaying the images.  We all came to the conclusion that the portrait should definitely be bigger, sort of closer to the height of the other 2 landscape images it is next to.  I have then taken the ideas we discussed during this process and made my own final series which is in the next post. These 3 images show how we narrowed the series down gradually from 12 possible images to 8.  they were chosen in pairs which are displayed above and below each other.  e.g 2 white images 2, close up images…and so on.  there also appears to be a running theme of a solid line which runs through the centre of every image.  The picture of the red tanks also kind of correllated with the picture of the filter press (gold/orange coloured image) due to the repeated black and yellow lines and the repetition of the filter press itself. Each image is also devoid of human presence.
Zoom Info
These pictures show part of the editing process after I had finished printing all my images in the darkroom.  Myself, Antony and Jamie all discussed different ways of displaying the images.  We all came to the conclusion that the portrait should definitely be bigger, sort of closer to the height of the other 2 landscape images it is next to.  I have then taken the ideas we discussed during this process and made my own final series which is in the next post. These 3 images show how we narrowed the series down gradually from 12 possible images to 8.  they were chosen in pairs which are displayed above and below each other.  e.g 2 white images 2, close up images…and so on.  there also appears to be a running theme of a solid line which runs through the centre of every image.  The picture of the red tanks also kind of correllated with the picture of the filter press (gold/orange coloured image) due to the repeated black and yellow lines and the repetition of the filter press itself. Each image is also devoid of human presence.
Zoom Info

These pictures show part of the editing process after I had finished printing all my images in the darkroom.  Myself, Antony and Jamie all discussed different ways of displaying the images.  We all came to the conclusion that the portrait should definitely be bigger, sort of closer to the height of the other 2 landscape images it is next to.  I have then taken the ideas we discussed during this process and made my own final series which is in the next post.

These 3 images show how we narrowed the series down gradually from 12 possible images to 8.  they were chosen in pairs which are displayed above and below each other.  e.g 2 white images 2, close up images…and so on.  there also appears to be a running theme of a solid line which runs through the centre of every image. 

The picture of the red tanks also kind of correllated with the picture of the filter press (gold/orange coloured image) due to the repeated black and yellow lines and the repetition of the filter press itself. Each image is also devoid of human presence.

I thought these 4 images, although very different in subject matter and colours, were similar in the sense of framing and the closeness of the camera to the subject.  it brought to mind images such as Frederick Sommers “Glass” A quote from Stephen Shore’s the nature of photographs that accompanies the image “glass” says: “a photograph may have shallow depictive space, but deep mental space” I feel that although these images are deliberately “flat” due to selective focusing and a shallow depth of field, meaning the space depicted in the image is shallow, the “mental space” is much deeper as it makes the viewer question why these images were taken and what they are part of in the wider scheme of the series. 
Zoom Info
I thought these 4 images, although very different in subject matter and colours, were similar in the sense of framing and the closeness of the camera to the subject.  it brought to mind images such as Frederick Sommers “Glass” A quote from Stephen Shore’s the nature of photographs that accompanies the image “glass” says: “a photograph may have shallow depictive space, but deep mental space” I feel that although these images are deliberately “flat” due to selective focusing and a shallow depth of field, meaning the space depicted in the image is shallow, the “mental space” is much deeper as it makes the viewer question why these images were taken and what they are part of in the wider scheme of the series. 
Zoom Info
I thought these 4 images, although very different in subject matter and colours, were similar in the sense of framing and the closeness of the camera to the subject.  it brought to mind images such as Frederick Sommers “Glass” A quote from Stephen Shore’s the nature of photographs that accompanies the image “glass” says: “a photograph may have shallow depictive space, but deep mental space” I feel that although these images are deliberately “flat” due to selective focusing and a shallow depth of field, meaning the space depicted in the image is shallow, the “mental space” is much deeper as it makes the viewer question why these images were taken and what they are part of in the wider scheme of the series. 
Zoom Info
I thought these 4 images, although very different in subject matter and colours, were similar in the sense of framing and the closeness of the camera to the subject.  it brought to mind images such as Frederick Sommers “Glass” A quote from Stephen Shore’s the nature of photographs that accompanies the image “glass” says: “a photograph may have shallow depictive space, but deep mental space” I feel that although these images are deliberately “flat” due to selective focusing and a shallow depth of field, meaning the space depicted in the image is shallow, the “mental space” is much deeper as it makes the viewer question why these images were taken and what they are part of in the wider scheme of the series. 
Zoom Info

I thought these 4 images, although very different in subject matter and colours, were similar in the sense of framing and the closeness of the camera to the subject.  it brought to mind images such as Frederick Sommers “Glass”

A quote from Stephen Shore’s the nature of photographs that accompanies the image “glass” says:

“a photograph may have shallow depictive space, but deep mental space”


I feel that although these images are deliberately “flat” due to selective focusing and a shallow depth of field, meaning the space depicted in the image is shallow, the “mental space” is much deeper as it makes the viewer question why these images were taken and what they are part of in the wider scheme of the series. 

fmpmajor
These 2 images and others that i have already listed on my blog are the images that inspired my idea to create a “white” series with my Huntsman photographs.  I like that there is only just a hint of colour in each picture, leaving the viewer to contemplate what the objects are based purely on shape/form
Zoom Info
These 2 images and others that i have already listed on my blog are the images that inspired my idea to create a “white” series with my Huntsman photographs.  I like that there is only just a hint of colour in each picture, leaving the viewer to contemplate what the objects are based purely on shape/form
Zoom Info

These 2 images and others that i have already listed on my blog are the images that inspired my idea to create a “white” series with my Huntsman photographs.  I like that there is only just a hint of colour in each picture, leaving the viewer to contemplate what the objects are based purely on shape/form

fmpmajor
Quote IconThe Depictive Level - Photography is inherently an analytic discipline. Where a painter starts with a blank canvas and builds a picture, a photographer starts with the messiness of the world and selects a picture. A photographer standing before houses and streets and people and trees and artefacts of a culture imposes an order on the scene - simplifies the jumble by giving it structure. He or she imposes this order by choosing a vantage point, choosing a frame, choosing a moment of exposure, and by selecting a plane of focus.

Stephen Shore - The Nature of Photographs

fmpmajor
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info
White Series These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3. I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein. I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.
Zoom Info

White Series


These images all have a running theme of the white pigment that Huntsman make.  It coats everything as it is so light it blows around a lot. The idea of focusing on just the white came from the Naoya Hatakeyama series Lime Works and also from the Mark Power series CaCO3.

I think to fully appreciate a series like this I would have needed more time to get more shots in a similar vein.

I don’t mind that there is only one portrait amongst these as I think it is representative of the small amount of staff used to run such a plant.  Most of the work appears to be done by computers, and the staff are there for maintenance purposes etc.

fmpmajor
Although I like these 3 images, I do not feel like they fit with any of the others in a series.  These feel more like the beginning of a documentary series of people at work in a workshop, grinding and welding.  the colours are also very different to the other images i have taken, so they would make them stand out much more.
Zoom Info
Although I like these 3 images, I do not feel like they fit with any of the others in a series.  These feel more like the beginning of a documentary series of people at work in a workshop, grinding and welding.  the colours are also very different to the other images i have taken, so they would make them stand out much more.
Zoom Info
Although I like these 3 images, I do not feel like they fit with any of the others in a series.  These feel more like the beginning of a documentary series of people at work in a workshop, grinding and welding.  the colours are also very different to the other images i have taken, so they would make them stand out much more.
Zoom Info

Although I like these 3 images, I do not feel like they fit with any of the others in a series.  These feel more like the beginning of a documentary series of people at work in a workshop, grinding and welding.  the colours are also very different to the other images i have taken, so they would make them stand out much more.

fmpmajor

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