P11 Project work is now live on my website
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@bendarbyphotography
P11 Project work is now live on my website

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P11 Evaluation
The original aims of P11 were to explore the human environment that had been created in the Elan Valley through the construction of an extensive reservoir system to supply Birmingham with drinking water. Whilst the core of the project has remained the same, the style of the images has developed somewhat from my initial intentions. The images are still colour, but they’re more about the subtle differences within the landscape, rather than the bolder more saturated images that I was aiming for to begin with.
The research that had the most impact on the development of my work has to be the visual stylings of work by Paul hart and John Sexton, who both have work that compositionally influenced my work and final image selection.
This module has really tested my photographic skills and subsequently my printing skills because the visual aesthetic I’ve tried to achieve in the project has been refined to a point that I feel it needs to be for my final hand in.
To improve the outcome of P11 I would have liked a little more time to further refine my approach and visit the Elan Valley a few more times, if only to explore more of the surrounding area because the reservoir system itself is so vast. Although of course by adding more time, it adds more images which may well make it more difficult to select a clear final edit and approach for the series.
Throughout the course of the project there have been a number of artists that have influenced my work, not just in content, but also stylistically. Two of the artists that have had an aesthetic influence on my work are Paul Hart, with his "Truncated" images (featured in the above video) and John Sexton with his "Listen to the Trees" work. Both of these artists have a strong visual style that has both appealed to me and influenced my own work in the Elan Valley.
After 3 weeks away from university equipment, I returned with a surplus of negatives to scan. Upon starting the scanning process it became obvious that my negatives had been mistreated. They arrived back covered in scratches, both large (as seen in the top image) and small, as well as being covered in dust and hair. This resulted in scanned images that were absolutely covered in spots and marks, leaving many of them unusable without a serious time investment in spot cleaning, which is something that wouldn't be worth my time for the project, unless the image is something really special.
A complaint has been lodged with the company responsible for developing the negatives, with a response from them currently pending.
This has potentially set back my project work by several days, if not a few weeks due to having to re-shoot and send the film off for development with another lab, something that I can't really afford to do at this time, both in terms of time and money.
Project update
Today marks a useful day on the project calendar, as it is the first time in over 3 weeks that I have been able to get into College Road to make use of the scanning facilities, something which has been holding me back through my choice to shoot on film. This has potentially set my project back by several weeks because I've been sat on 9 rolls of developed film with no way of extracting the images without paying an extortionate fee for an eternal company to scan my negatives for me. I feel this is a place where the Art College really struggles to keep up with its rival universities and colleges, who oftentimes allow students near 24 hour access, both in and out of term time. Until similar changes are implemented here our students will always struggle to keep up with our peers at other institutions.

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Aside from the quality difference between these two images of the same scene (one shot on medium format, the other shot on a Sony Xperia Z smartphone), this brings up something which is troubling me from a technical standpoint. Whilst shooting the smartphone image I was alarmed to find out how unaccustomed I was to shooting on such a wide format, seemingly due to becoming too accustomed to shooting in the square film format. This has lead me to the conclusion that after this project has been concluded it is essential for me to shoot a project in at least 6x7, if not 6x9 or 35mm. This will open up another area of creative practice for me compared to shooting in the relatively restricting square.
That isn't to say that I'm not still a fan of 6x6, on the contrary, I still plan to continue shooting square indefinitely. Just for my photographic progression I feel that square format is stifling my creativity at the moment by limiting my shooting options.
My relationship with square format is one that I find hard to describe, but most importantly I feel that shooting on medium format connects me more to my subject matter as it slows the whole photographic process down and is a much more intimate approach when compared to digital.
Square images have a tendency to flatten the landscape into a more uniform arrangement, drawing the eye to the centre of the image, something that I feel is not as easy to achieve with a wider landscape format. Using a wider format allows for more distracting elements to creep into the image. Of course this is dependant on the content of the image, but for P11 the project works best with the more restrictive square format.
These phone images offer an insight into the locations that I am currently shooting in, but can be considered little more than representational as they do not adhere to square format or the aesthetic of the particular film that I am using.
This is a selection of the rough edit of images taken from the first trip to the Elan Valley. This first trip was more about defining my photographic style for this project, rather than producing images that will be considered for the final edit, that being the case there are a few images that I would consider. What has become apparent from this trip though is that two project styles do appear to be emerging, namely those of a more traditional landscape fodder, and that of a more interpretational view of the landscape through the use of water and shoreline imagery. Because of this split approach I have decided to continue with both photographic styles and produce two different end projects from the work, unless of course the work begins to intersect again, in which case both styles of image will be used in a combined project of the Elan Valley reservoirs area.
I decided to take duplicates of several shots whilst there in order to experiment further with depth of field and the effect it has on the images and from this experiment it has become clear to me that I need to stick with a larger depth of field for the project to be a success, at least in my opinion.
Tom Kondrat
Not only do Kondrat's images make me desperately want to visit Iceland and experience it for myself, but they also intrigue me due to their composition. They don't always follow traditional landscape techniques in terms of composition and context, which shows progression within the photography world and it is the pushing of these boundaries that I will be exploring in my current project, along with the notions of what can be considered aesthetically pleasing and interesting.
Clayton Cotterell
The more subtle approach to some of the images that Cotterell has produced intrigue me somewhat. They differ in content significantly to my normal subject matter, namely with them being such tight crops on the environment, as opposed to a much wider more encompassing view of the landscape.
This approach to landscape is something that I want to explore with my work at the Elan Valley, as the detail and simplicity that can be captured with tighter compositions will help to focus my approach to the landscape, and help me to explore a whole new area of subject matter.

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Source: Graduate Photography Online - 2013 - University for the Creative Arts Farnham - BA (Hons) Photography - WilliamPearce
The Face BetweenMy work is focused on the relationship between nature and the man-made, how they exist separately or interact and conflict within a space. This is something that has interested me throughout my time at university and is a study I plan to continue there after. For 'The face between' I took my field camera and travelled a stretch of the South Coast. The subject of this study was the cliff face, capturing moments of co-existence and decay between the cliff face as well as the man-made structures built onto it. Shooting on 5x4 allows me to slow down, to take in a space before firing the shutter.
Source: Graduate Photography Online - 2013 - UCA Rochester - BA (Hons) Photography (Contemporary Practice) - RobinAlbrecht
ExploredThe series Explored examines man's relation to nature. Even in the most remote parts of Great Britain there are clear visible hints and signs of humanity in the landscape. How far do we actually need to go to reach a place where we can rid ourselves of all signs of mankind to be able to connect with ourselves on a deeper level? Explored is a series of photographs that Albrecht took passing through the British countryside contemplating this notion of getting to know oneself better on a different plane. The series takes the viewer on this journey in search of a landscape that is untouched. However, is there still such a place? The photographs were taken around Wales and Scotland.
Source: Graduate Photography Online - 2013 - University of Ulster - MFA Photography - PaulCorcoran
Paul Corcoran
The Storm Called ProgressThe experience of contemporary Ireland is one marked by the enormity of the changes taking place on the island. This post-boom landscape is one burdened with the legacy of past failings and challenged by unprecedented and sustained levels of erosion economically. This work explores the landscape image as a site of expression for ideas about place and experience. Adopting the coastline as a metaphor for transitional space, it presents a landscape that is exposed, eroding and fragile, a space where uncertainty abounds. This allegorical series questions modern Ireland tentative future prospects as a place that is increasingly defined by its relationship with the sublime space of globalized economics.
Highlands by Ákos Major
- It was a rainy week, me and my girlfriend were on a ride around Scotland. The weather was horrible - cold and windy, and it was raining all the time, literally. On one day we had a couple of hours to see the sun appearing. My lens was continuously covered with raindrops, I could not help it because of the wind which was never waiste away. You can see some drips on one photo with The Storr, a rocky hill.
- Words and images: Courtesy of Ákos Major
Major's images of the highlands in part remind me of the topography of the Elan Valley reservoirs. Aesthetically some of the images have been created in a similar fashion to how I want to produce my own images. The muted colours and overcast skies are something that I want to highlight within my images in order to show the human impact on a landscape which would otherwise be considered picturesque and beautiful.
 Colorado River Delta #2, Near San Felipe, Baja, Mexico, 2011. © Edward Burtynsky  Benidorm #1, Spain, 2010. © Edward Burtynsky Toronto-based photographer Edward Burtynsky is known for his large-scale photos documenting the impact of our civilization on the natural landscape. Water, his new project, puts in perspective this natural element and the role it plays for humanity. Covering 10 countries over a five year period, the images tell stories of the “way we shape water and water shapes us.” Water can be a source and a resource, a ritual site, a pleasure, or a terrible enemy—or it can be totally absent. “My hope is that these pictures will stimulate a process of thinking about something essential to our survival; something we often take for granted—until it’s gone,” says Burtynsky. In addition to the photos, Water includes Watermark, a feature film documentary which marks Burtynsky’s directorial debut.  Xiaolangdi Dam #3, Yellow River, Henan Province, China, 2011. © Edward Burtynsky  Polders, Grootschermer, The Netherlands, 2011. © Edward Burtynsky  Salt River Pima-Maricopa Indian Reservation / Scottsdale, Arizona, USA, 2011. © Edward Burtynsky  Cerro Prieto Geothermal Power Station, Baja, Mexico, 2012. © Edward Burtynsky  Submerged Pipeline, Gulf of Mexico, June 24, 2010. © Edward Burtynsky

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The Elan Valley Reservoirs are a chain of man-made lakes created from damming the Elan and Claerwen rivers within the Elan Valley in Mid Wales. The reservoirs, which were built by the Birmingham Corporation Water Department, provide clean drinking water for Birmingham in the West Midlands of England. The five lakes are known as the Claerwen, Craig-goch, Pen-y-garreg, Garreg-ddu, and Caban-coch.[2]
Water from the reservoirs is carried by gravity to Frankley Reservoir in Birmingham via the Elan aqueduct. Pumping was not required because the network drops 52 metres (171 ft) along its 73 miles (117 km) length from its source to Frankley. A gradient of 1:2300 maintains a flow of less than 2 miles per hour (3.2 km/h); water takes one-and-a-half days to reach Birmingham.[3] The aqueduct, which was started in 1896 and opened in 1906, crosses several valleys and features numerous brick tunnels, pipelines, and valve houses.[4]
Work to build the Elan Valley reservoirs was undertaken because the rapid growth of the industrial city of Birmingham in the late 19th century had led to a lack of available clean water. Numerous outbreaks of disease prompted Birmingham City Council to petition the British government which passed the Birmingham Corporation Water Act in 1892. It allowed the Corporation to acquire by compulsory purchase all the land within the water catchment area of the Elan Valleys. Thousands of navvies and their families lived in the purpose-built Elan Village during the construction of the first four dams at the turn of the 20th century. In 1952, the Claerwen dam was opened by Elizabeth II in one of her first official engagements as monarch.
Drinking water from the Elan Valley is noted for being exceptionally soft. However local supplies in surrounding areas in the West Midlands, not served by the Elan aqueduct, are noted for hardness.[5]
The reservoirs are now owned and managed by Dŵr Cymru Welsh Water. The water filtration works further down the valley is run by Severn Trent Water.
There are four main dams and reservoirs (constructed 1893–1904 in Elan Valley, and 1946–1952 at Claerwen) with a potential total capacity of nearly 100,000 megalitres. The dams and reservoirs are:[6]
Caban-coch with Garreg-ddu – 35,530 megalitre capacity
Pen-y-garreg – 6,055 megalitre capacity
Craig-goch – 9,222 megalitre capacity
Claerwen – 48,300 megalitre capacity.
In addition to the four main dams, there are three other dams at the site:
The Dol-y-mynach dam – it was to be one of a series of three dams that would be built to contain the waters of Afon Claerwen. They were to be constructed in accordance with the growth of Birmingham. However the project was never completed even though the masonry foundations of the first dam were laid at the same time the Elan Valley dams were being constructed. The work had to be done in advance because the water level of the Caban Coch would have submerged the site once the reservoir was full. The three-dam project became redundant when newer materials and superior engineering allowed the construction of the single larger Claerwen dam higher up the valley in the 1940/50s.
The Nant-y-Gro dam – this small dam was constructed in the early stages of the project to supply water to the navvies village at the site; it was used during the Second World War by Sir Barnes Wallis during trials of the explosive charges he intended to use in the bouncing bombs which later targeted the Ruhr dams.
The Garreg-ddu dam – although looking like a viaduct, it is actually a submerged dam. Its role is to maintain a sufficient level in the Garreg-ddu reservoir so water can enter the Foel Tower and the gravity-driven aqueduct to the Frankley Reservoir in Birmingham. The dam is only required to operate during times of extreme drought.
The system of reservoirs in the Elan Valley, with information about life in the valley before the flooding and the building work