152MC: Sequencing and Final Book


Clifton-Taylor, A. (1967) The Cathedrals Of England. London: Thames & Hudson

Eco, U. (1986) Art And Beauty In The Middle Ages. New Haven: Yale University Press

Grant, L. (1984) French Gothic Architecture Of The Twelfth And Thirteenth Centuries, (1983). Berekley: University of California Press

Hido, T. (2015) Todd Hido [online] available from http://www.toddhido.com/ [7 May 2015]

Josefchladek.com, (2015) Architecture Books Page 1 – On Photobooks And Books – Josef Chladek [online] available from http://josefchladek.com/tag/architecture [5 May 2015]

Krüger, M. and Höfer, C. (2003) Candida Höfer. London: Thames & Hudson

Larson, L. (1964) Lighting And Its Design. New York: Whitney Library of Design

Lewis, N. (2007) Robert Grosseteste [online] available from http://plato.stanford.edu/entries/grosseteste/ [20 May 2015]

Marr, B. and Marr, B. (2015) Metaphysics Of Light In Contemporary Architecture [online] available from https://www.linkedin.com/pulse/stop-dont-look-new-job-before-answering-10-questions-bernard-marr [20 May 2015]

Michals, D. (1984) Sleep And Dream. New York: Lustrum Press

Michals, D. (1986) Duane Michals. New York: Pantheon Books

Phillips, D. (1997) Lighting Historic Buildings. New York: McGraw-Hill

Simon, T., Rushdie, S., Sussman, E., Kukielski, T. and Dworkin, R. (2007) An American Index Of The Hidden And Unfamiliar. Göttingen: Steidl

Szarkowski, J. (1966) The Photographer’s Eye. New York: Museum of Modern Art; distributed by Doubleday, Garden City, N.Y

Tregenza, P. and Wilson, M. (2011) Daylighting. London: Routledge

Visual-arts-cork.com, (2015) Caravaggism: Characteristics Of Caravaggio’s Tenebrism, Chiaroscuro[online] available from http://www.visual-arts-cork.com/history-of-art/caravaggism.htm [15 May 2015]

Visual-arts-cork.com, (2015) Tenebrism [online] available from http://www.visual-arts-cork.com/painting/tenebrism.htm [15 May 2015]

Yaffa, C., Beam, J. and Parks, G. (1998) Light And Shadow : The Photographs Of Claire Yaffa. Aperture


152MC: Sketchbook (Photobook Ideas and Practice books)

Below are the practice books I made before making my final photobook.

My first two attempts at coptic binding did not work out as well as I planned. Instead of looping through the stitch i knotted it and this causes the string to look very thick and the pages to be loose. I also changed a lot of the sequencing of the book and moved the images around.

I also tried stab binding to see if it was going to be appropriate for my photobook even though I thought coptic binding would work better. I like how decorative the binding is, however I want my book to open flat and this binding does not allow for that.

For my fourth attempt at binding I used a very waxy thread and this meant that it was difficult to keep tension in the thread and keep the binding tight and signatures close together once opened. The thread also made the binding look messy and it stuck out prominently. The binding is meant to lay flat. In addition, because the thread was waxy it was very thick and it ripped many of the pages and holes, even on thicker paper I still think it would of ripped.

For my fifth attempt I tried using double threaded embroidery thread as I thought it would be more flexible than the thick waxed thread. By double threading the thread it was too thick and knotted easily. It also ripped many of the pages as I was pulling it through. The overall appearance of the binding does not look very tidy.

My final practice book turned out very well. I used unwaxed embroidery thread and 200 gsm paper which was the same thickness as the paper I was getting my final images printed on. The binding looked neat and opened flat. The only issue I had was I didn’t have a front or back cover. I tried binding a signature of 4 as the cover however it did not open properly. I began to experiment with different covers and thickness or card.


I tried using a watercolour style of paper and wrapping it around a piece of thick card however the colour was not working well with my images, I needed to go for a darker colour as the tones in my images are dark. I also tried cutting a section out for the title to replicate the windows in my images. However I felt this looked gimmicky. In the end I decided to use thick navy blue card as it went with the dark blue tones in my images.

152MC: Sketchbook (Kew Gardens Conservatories)

Following on from my researching into the use of lighting in historic buildings I became interested in the large victorian conservatories in Kew Gardens. I then photographed them in the same style as my other historic buildings, I focused on where the light was coming from and what effect this had on the surrounding space.

152MC: Sketchbook (Second Shoot – Kew Palace)

Following on from my shoot at the cathedral I visited Kew Palace which is within Kew Gardens. I was interested in how the architecture of the building had changed and also how this affected the light. When the house was in residence they would of relied heavily on daylight from the windows however during this time period gas lights were also used to light the house after dark. This would have changed the atmosphere of the room entirely. The patterns and the patches of sunlight changed the atmosphere of the space. If I had more time I would want to revisit and reshoot at a different time of day to see how the lighting changes.

152MC: Sketchbook (Lighting Experiments)

Part of the assingment criteria is to create a series of landscape, portrait, still life and interior images which relate to our narratives. These images were to show our experimentation of lighting, however they did not have to be used in our final book.

For one of the workshops on lighting a landscape we took portraits using just a single light which was connected to a trigger on the camera. We did not use a light meter to test the aperture, instead for each image we adjusted the aperture by eye.

152MC: Sketchbook (Artist/Photographer research)

During this assingment I researched into many photographers work who explored a similar theme to what I am. I was interested in how they interpreted the theme and the type of narrative they presented with their use of images. One of the main inspirations was the body of work Light and Shadow by Claire Yaffa. In her book she explores quite moments of introspection and how they connect the boundaries of light and dark together. The images are also accompanied by poems.

I tried experimenting with this style of work and looking at the light, shadows and reflection in nature.

The images taken in the old palace were inspired by Todd Hido’s interior work.