Research Proposal

Harlyn Bay:

Usage, Influence and Impact

© Tim Young 2019

Research Project Proposal | Tim Young

OVERVIEW Harlyn Bay is a popular beach on the North Cornish coast. As a keen waterspouts enthusiast, I’m often in the water surfing, stand-up paddle boarding or swimming.

It’s a place close to my heart that I see on a daily basis. It’s for this reason I’ve chosen to base my research project on the beach and it’s users.

The beach is a haven for a wide variety of people, all with their own personal experience and appreciation of the beach. The difference in usage between winter and summer is stark, with numbers swelling significantly in the peak season. I hope to capture ad-hoc portraits and interviews with different user groups at different times of year, and get an idea of different individual’s back-story and their beach related experience.

I intend to take a powerful portable strobe light and modifier with me to capture some interesting environmental shots. I’d also like to arrange more planned portrait sessions with significant local users and persons of influence that have a positive effect on either the beach environment and/or its other users.

With sustainability and ecological matters at the forefront of public thought, I hope to study and document any potential negative or positive effects on the flora and fauna as a result of human interaction and usage. The beach is an ever-changing dynamic environment. The topography is different from day to day, season to season.

The current Covid-19 crisis has created a unique scenario where people are largely absent from attending or using the beach for a relatively long period of time. I’m interested and keen to document how and if this may affect the landscape.

© Tim Young 2019

Objectives and Aims I intend to couple the portraits with landscapes and seascapes of the surrounding area and wildlife. I want to combine landscapes and portraiture to produce a multi-disciplined series of work reflecting the diversity of the community utilising a variety of techniques.

I also want to highlight the human impact on the beach and how our usage of items such as single-use plastics and litter have a great impact on our natural surroundings.

By documenting the community surrounding the beach, I hope to forge new relationships and bring existing bonds closer. In highlighting the effect humans may be having on the local environment and wildlife, I hope the completed body of work will foster a more positive public attitude towards plastic pollution, and preserving natural habitats.

My project will have a relatively niche audience, as it is location dependant, but with the popularity of Cornish landscapes, the supporting images and composite plates will hopefully be saleable further afield than just Cornwall.

Waves Surf Art Gallery (online) would be an opportune place to offer images for sale. As immediate financial reward is not the reasoning behind the project, I feel they’d be better suited to display as a cohesive set of images. I’d like the opportunity to display them as such in local galleries.

I’ve identified The Cowhouse Gallery in Perranuthnoe, and The Newlyn Art Gallery as potential places to enquire about the possibility of doing this. Relevant publications such as Cornwall Today would be another place of inquiry, as the environmental aspect of my project I feel would be relevant to their readership.

The set of images will eventually be displayed on my website, and hopefully any potential interest will enable me to attract a larger and higher quality client base for commercial or editorial work. © Tim Young 2020

Influences and Context

© Joey L - Holy-Men 2018

For the techniques and equipment I will be utilising for my research project, I have taken inspiration from Joey L. For several of his travel photography projects, he implements studio lighting with large light modifiers to create an incongruous studio quality light on location, adding drama to portrait images.

© Rineke Dijkstra - Beach Portraits 2003

Rineke Dijkstra’s beach portraits are extremely relevant to my project. Her portraits of regular beachgoers display a level of awkwardness and innocence that I will encounter in shooting everyday people with no modelling experience. I will utilise a softer key light than she uses in that series and perhaps have a touch more contextual detail, but I hope to emulate and capture the same vulnerability of everyday people.

Simon Roberts - We English 2009

Simon Roberts’ ‘We English’ series has proved particularly insightful. The series comes from his travels in a motorhome and captures ordinary people participating in diverse pastimes and everyday life through large-format tableaux photographs. His themes of identity and belonging are something I’d like to emulate in my own work.

Work In Progress Due to current lockdown restrictions, I have had to re-schedule or cancel multiple portrait sessions. Beaches have also become relatively ‘off-limits’ for leisure activities, which has impacted my practice significantly. I have had to rely more than planned on some landscape imagery that was originally envisaged to take more of a supporting role in my work in progress portfolio. These give a good idea of the natural beauty of the surrounding area, along with context for some of the future planned shoots e.g. the lifeboat station.

©Tim Young 2019

I have completed several portrait sessions at the beach so far, along with some aerial photography using a drone. Whilst these were intended to be an initial draft of where I wanted to go with the portraits and to highlight any possible pitfalls and test gear – I feel they give a good indication of the direction I’d like to take.

The lifting of lockdown restrictions will allow me more freedom to spend more time shooting, and gain a better understanding of the environment and obtain more intimate portraits.

©Tim Young 2019

©Tim Young 2020

Planning Cornwall and its beaches swell with people dramatically in the summer, and certain activities, pastimes and people are only available to shoot in the summer months. The lifeguards for example only operate during this time, and tourists tend to congregate more in warm weather. With this in mind, I will plan my portrait shoots carefully to coincide with the seasons, and focus on different activities and people in the colder months. Environmental issues, cold water surfers, dog walkers, and landscapes will all be focused on more out of peak season.

I may also have to reschedule more shoots depending on the current Covid 19 crisis restrictions. Assuming they are lifted in a relatively short amount of time, it shouldn’t have too great an impact, but it is something I’m monitoring carefully. Until they are, I will have to focus more on desk-based research from home.

May – Aug 2020 PHO702: Informing Contexts Post restrictions – shoot majority of warm weather shoots.

• Background investigation into locality • Relate environmental issues to theoretical perspectives in photographic art.

• During lockdown restrictions – build body of landscape images to support portraits.

• Tourists enjoying the sun/sea • Surfers • Composite shoot with local successful surfer Tommy Boylan • RNLI beach lifeguard shoot with Johnny Elderfield • Ad-hoc tourist portraits September – December 2020 PHO703: Surfaces & Strategies • Collaborative image making • Slightly quieter season – good time for Beach Guardian environmental portrait.v • RNLI Lifeboat crew shoot • Drone shots of surfers • Harlyn fisherman Johnny Murt portrait shoot January – April 2021 PHO704: Sustainable Prospects • Investigate human impact and compare beach conditions to quarantine period, and summer usage.

• Collate and retouch images in preparation for display.

• Research display methods, and printing media • Reflect on project to date • Make links with local activists • Build relationships and contact appropriate portrait subjects.

• Explore online tools and social media for networking

©Tim Young 2020

Costs I will encounter will not be hugely significant as I own most of the equipment I need already. My biggest expense will be my time. For the landscapes & seascapes for supporting imagery and plates for composites – I have purchased a 10 stop neutral density (Fig 2) filter for £39

Fig 1

Fig 2

Fig 3

To create the studio quality lighting and bring the ambient light under control, I will need to purchase a slightly more powerful portable light as a lot of the time I’ll be shooting in full sun. The Godox AD 400 (Fig 1) is relatively affordable for a portable studio light at £600. This light has high-speed sync which mixed with the extra power it provides will allow me to shoot at wider apertures giving me more flattering portraits.

This will be coupled with a Neewer 48 inch softbox (£119) for a soft yet directional lightsource. (Fig 3) Supplemental lighting provided by speedlites and modifiers I already own.

Although the vast majority of my project will be shot using digital equipment, I intend to shoot a small percentage of images on film (medium format, 35mm, and Polaroid) I envisage needing 10X rolls of Kodak Portra 160, 10X rolls of Portra 400, and 5X packs of Polaroid film.

As landscapes are not a genre I have any experience in, I will also purchase some online training, and some books to improve my skillset in that area.

Costs & Funds Godox AD 400 £600 Neewer Softbox £119 ND Filter £39 Film Rolls X10 £20 Polaroid packs X5 £60 Film Processing £63 The Art of Landscape Photography £9.98 Landscapes and Light £17 (online training) TOTAL COSTS £981.98

These funds will be raised by the selling of surplus lenses I own but do not use.

1X Canon 135mm F2 1X Canon 24-70mm 2.8II

approx £700 used market approx. £900 used market

TOTAL FUNDS

£1600

This leaves me with a surplus of £618.02 to cover any unforeseen eventualities, or future books or training costs.

Word Count: 1,553

Bibliography

References Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/Art-Landscape-Photography-Ross-Hoddinott/dp/1781450528> [Accessed 25 April 2020].

Chambefort-Kay, K., 2020. [online] Simoncroberts.com. Available at: <https://www. simoncroberts.com/wp-content/uploads/2018/02/Karine-CHAMBEFORT-KAY.pdf> [Accessed 21 April 2020].

Cowhousegallery.co.uk. 2020. [online] Available at: <http://www.cowhousegallery. co.uk/?LMCL=l7yLAG> [Accessed 21 April 2020].

Dijkstra, R., 2002. Beach Portraits. 4th ed. Chicago: LaSalle Bank.

Kloskowski, M., 2020. Landscapes And Light With Matt Kloskowski | Creativelive. [online] CreativeLive. Available at: <https://www.creativelive.com/class/landscapes-andlight-matt-kloskowski> [Accessed 18 April 2020].

Lacey, M., 2020. Cornwall | Waves Surf Art Gallery - Porthleven | Mike Lacey Photography. [online] Wavesgallery.co.uk. Available at: <https://www.wavesgallery.co.uk/product-category/cornwall/> [Accessed 14 April 2020].

Lawrence, J., 2020. Joey L. - NYC-Based Photographer And Director. [online] Joeyl.com.

Available at: <https://joeyl.com/blog/all/post/new-omo-valley-photographs-meet-me-atphotola-jan-15th> [Accessed 9 April 2020].

Lawrence, J., 2018. Joey L. - NYC-Based Photographer And Director. [online] Joeyl.com.

Available at: <https://www.joeyl.com/portfolio/category/holy-men> [Accessed 24 April 2020].

Morrissey, T., 2020. Trish Morrissey. [online] Trishmorrissey.com. Available at: <http:// www.trishmorrissey.com/works_pages/work-front/workpg-12.html> [Accessed 21 April 2020].

Newlyn Art Gallery & The Exchange. 2020. Contemporary Art Gallery Cornwall | Newlyn Art Gallery & The Exchange Penzance. [online] Available at: <https://newlynartgallery.co.uk/> [Accessed 24 April 2020].

Roberts, S., 2020. We English - Simon Roberts. [online] Simon Roberts. Available at: <https://www.simoncroberts.com/work/we-english/> [Accessed 5 April 2020].

Future Reading Arias, Z., 2010. Dedpxl. [Atlanta, Ga.]: OneLight Workshop.

Canlas, J. and Kalp, K., 2012. Film Is Not Dead. Berkeley, Calif.: New Riders.

Garvey-Williams, R., 2015. Mastering Composition. 2nd ed. Chicago: Ammonite Press.

Hoddinott, R. and Bauer, M., 2012. The Landscape Photography Workshop. 1st ed.

Kennedy, F., Gooley, T. and Yarham, R., 2017. Masters Of Drone Photography. 2nd ed.

L, J., 2013. Photographing Shadow And Light. New York: Amphoto.

McNally, J., 2008. The Moment It Clicks. [Berkeley, Calif.]: New Riders.

McNally, J., 2009. The Hot Shoe Diaries. Pearson Education Inc. Messina, E. and Tobin, J., 2012. The Luminous Portrait. New York: Amphoto Books.

Photography Risk Assessment form Please read the Risk Assessment Guidelines before completing this form which contains further resources, available from The Photography Centre.

Photographerâ&#x20AC;&#x2122;s Name: Assistantsâ&#x20AC;&#x2122; Names: Module Leader: Location: Description of work:

Date(s) of Shoot: From May 2020

Tim Young N/A

Jesse Alexander Harlyn Bay, Cornwall, UK

I will be carrying out portraits and environmental landscapes on and around Harlyn beach. These will be a mixture of ad-hoc sessions with the general public, pre-arranged portrait sessions with select individuals and landscape photography on my own.

Mobile phone signal is adequate and good access for emergency vehicles. Beach is patrolled by lifeguards from May to October.

Nearest toilets - Harlyn Inn. (200m) Nearest town - Padstow Postcode - PL28 8SB OS Grid Ref - SW 8770 7550 Defib Location Harlyn Inn (200m)

Persons at Risk

Identify all those at risk

Technical Staff:

Academic Staff:

Contractors:

General Public:

Cleaning Staff:

Emergency Personnel:

Other:

Check list

Students:

X

Visitors:

X

Admin Staff:

Canteen Staff:

Estates Staff:

Library Staff:

Especially at risk:

Equipment

Flash/tungsten

Stands/tripods

Hot lights

Smoke machine/fire

Flammable materials

Risk of Fire

Welfare of Assistant

Welfare of model

Working at Heights

Location

Transport to location

Parking

Vehicles/traffic

Weather conditions

Public

Confined spaces

Derelict Buildings

Animals

Children

Tides

Compressed Gasses

Water

Noise

Chemicals

HAZARD CONTROL MEASURE HAZARD CONTROL MEASURE HAZARD CONTROL MEASURE HAZARD CONTROL MEASURE

Light Stands and modifiers

RISK OF

Injury from falling stands

Ensure stands are weighted down with sandbags, and refrain from using large surface area modifiers in strong winds.

Hot weather

RISK OF

Sunstroke, or sunburn.

Carry sunscreen at all times and ensure everyone involved in shooting applies regularly

Cliffs

RISK OF

Being washed away by unexpected waves, or tripping/falling from The cliff-edge.

I have good existing knowledge of the local cliffs and dangerous areas â&#x20AC;&#x201C; ensure subjects refrain from standing near cliff-edge.

Carry charged mobile phone in case of emergency. Check tide times and swell charts and observe water conditions.

The Sea

RISK OF

Drowning

I am a qualified beach lifeguard and able to offer assistance to anyone in difficulty; however, best to avoid shooting too close to the water, and if necessary, conduct shoots near to lifeguard patrolled swimming areas. Check tide times and weather condition before shoot. In Winter months, be extra vigilant and avoid cliff edges or water altogether.

HAzARD CONTROL MEASURE HAZARD CONTROL MEASURE HAZARD CONTROL MEASURE HAZARD CONTROL MEASURE

Rocks & wet ground

RISK OF

Slips & trips. Fall based injuries.

Avoid climbing on wet rocks or seaweed. Take extra care when traversing hazardous areas. Iâ&#x20AC;&#x2122;m first aid trained, and will carry a first aid kit with me for minor injuries, but ready to contact emergency services if serious injury.

Cold conditions

RISK OF

Hypothermia or exposure

Wear protective clothing appropriate for the weather conditions as necessary. Be aware of the risk of hypothermia & cold-water shock.

Take spare clothing.

Jelly fish or Weever fish

RISK OF

Being stung by either creatures if in paddling depth water

Ensure participants wear some kind of footwear if not swimming but in or near water. Check location of lifeguard station for mild pain relief.

Underwater hazards

RISK OF

Hitting a bodypart on a submerged obstacle such as a rock.

Neck injuries common

Be aware of local hazards, check with lifeguards if unsure. Avoid participants perform any dangerous activity e.g. diving.

On site risk assessment: these are control measures that arose on your shoot

Emergency Information and Procedures Phone Charged mobile phone with full signal / Nearest Payphone / Landline Medical Expertise Are you or a member of your team First Aid qualified? Do you know where the nearest one is?v Emergency Procedure In the event of an emergency dial 999 or 112 ensure that you or someone with you can accurately describe where you are (ideally nearest postcode) Medical Treatment Minor Injuries Unit, Falmouth Hospital Open weekdays 8am to 8pm A&E Treliske Hospital, Truro, Open 24 hours Evacuation procedures Ambulance can evacuate from main road.

Incident/accident reAll incidents or accidents should be reported to tutor at Falmouth University porting Assessment carried out by • I have ensured that I have reviewed the hazards and risks associated with this project and taken necessary steps to remove hazards where possible or reduced the risks associated with the remaining hazards to a minimum.

• I have recorded the main hazards, risks and control measures in this document.

• I have ensured that those working with me have been briefed on the nature of the tasks they are to perform, and are aware of the hazards associated with the task and the measures in place to reduce the risks associated with those hazards. (if applicable) • I will continually assess hazards and risks ‘live’ on site to ensure that nothing has been overlooked or has changed since initial assessment.

Signed:

Tim Young

Assessment reviewed by

Date: 20/04/20