The WandererThis new blog will be a collection of my wanderings into places out and new with my camera. I have been recently learning, studying and getting to know previous wanderers, walkers, drifters and photographers who use written and visual commutation to communicate place and identity of areas. The idea is to use the art of psychogeography and place and its use within photography. This blog will now take the form of new, old and re wanderings; the Means to get somewhere through my practice has led me into the world of Psychogeography; the emotions, behaviours and psychology of individuals and specific effects through and of geographical environments. Studying the derive; the conditions of urban society, the idea of travelling, wandering and giving myself a sense of place direction over a specific period of continuous wanderings.My studies within my first year have opened my eyes into practice and readings of situationists Guy Debord, Iain Sinclair, Peter Ackroyd, JG Ballard and Stewart Home to Rebecca Solnit, Will Self, Merlin Coverley, Michael Symmons Roberts and Paul Farley, Dorren Massey, Peter Keiller, and Yi-Fu Tuan. As well as the situationists, geographers, writers I have been looking at photography through the decade to see how photographers before me portrait visual communication have to connect the sense of place, behaviours, identity and the time. Photographers I have firstly studied; Richard Billingham, Walker Evans, Edward Weston, Doretha Lange to the ‘New Americans’ Robert Frank, William Eggleston, Justine Kurkland, Inge Morathm, Taiyo Onorato (in David Company’s; The Open Road), Paul Gafney, Alec Soth, Paul Graham, Matthew Hague, Bill Brandt, Chris Killip Graham Smith, John Davis, Martin Parr, John Myers, Jon Tonks, Dan Wood and the artist Richard Long. These photographers and artists have given influence and inspiration to approach a new project on the ‘A46’ and another project that is underway.Below are my readings in the form on an annotated Bibliography, photographers and practitioners examples, a link to my YouTube video of these findings and a link to my A46 project (so far). My Dyslexic kicks in with the YouTube video, I had to cap the time, and this was something entirely new to me. I wish I gave myself another time to pre-record a presentation (Ted-Talk style) or presented to my MA class and recorded, I hope to re-record with a long time and maybe more photographs of the practitioners I mention and mention below in my annotated bibliography.So, this is my new blog and please feedback and share on with links and social media.Enjoy, and the first instalment of ‘The Wanderer’ will follow shortly,Peace x The Wanderer August 14, 2019 A46 Means to get somewhere‘the art of psychogeography and place and its use within photography’The Means to get somewhere through my practice has led me into the world of Psychogeography; the emotions, behaviours and psychology of individuals and specific effects through and of geographical environments. Studying the derive; the conditions of urban society, the idea of travelling, wandering and giving myself a sense of place direction over a specific period of continuous wanderings.Billingham, R. and Craddock, S. (2008). Landscapes, 2001-2003. Stockport: Dewi Lewis.A photography landscape book through three years shows different landscapes in different places, times and dates. This range gives you an inside into a journey from what Billingham sees on a day to day basis over three years, sometimes I can imagine by chance. Walking, rambling and stopping to composing a landscape; using details to compose through leading lines and the rule of thirds to move your eyes through and around focal points and the frame. Billingham has a fine art background and these landscapes are inspired by Constable within the composition and the idea of sublime and literal landscapes. The images have viewpoint but are not what you would call a view of a postcard or a tourist image to get someone to an area. They are real and portray a relationship; with the area, the lights, the clouds, the thought of Constable and a British landscape. What seems like a snapshot is not with this formation and amazing and perfect composition from photograph to photograph throughout the book. Billingham’s wants to get a feel for the area and to look at the British landscape and get an idea of place and purpose – very much like the new typographic in sections of purpose through technological endeavours and change of landscapes. Billingham’s’ overall book is a great personal insight into the British landscape and a man’s wonderings through the landscape to gain excess to placeness and to capture these images. Campany, D. (2014). The Open Road. Aperture Foundation.Campany’s exploration of the ‘American Road Trip’ in the book ‘The Open Road’. The book is an intrinsic survey of the open road through photography and photographers of the last century. The book exhibits different photographers portraying different elements of a road trip; the culture, context, romance, variety, history, aesthetics and overall different narratives. This is done within a different context of the time as well as the identity of the places the photographers and the view of the photographer’s self within the different frames throughout the book. The book endeavours to communicate the thoughts and imagery of Walker Evans, Edward Weston, Doretha Lange to the ‘New Americans’ Robert Frank, William Eggleston, Justine Kurkland, Inge Morathm, Taiyo Onorato and many more. They look to document the change of American anxieties and levels of uncertainty within the last century with the notion and impression of ‘America interest in what America might mean.’ This diverse range of photographers depicting America is documented through memories, imagination and portrayal of space. The idea of the road trip is incredible in particular the complex vocabulary and the semiotics of the observations I would certainly look to add this into my work on British roads and look past the ‘American Road Trip’ and add the new audience to exploring roads.Coverley, M. (2010). Psychogeography. Harpenden, Herts: Oldcastle Books.Coverleys’ titled Psychogeography is a pinnacle read for Psychogeography enthusiasts wanting to know more about the theories and what is and what-ifs of Psychogeography. Coverleys’ talks about the history and theorists from the stewardship of the situationists Guy Debord and Andre Beatons Surrealism before him to the situationists as a whole and the followings and theories post; Iain Sinclair, Peter Ackroyd, Stewart Home and how writers around London where at the frontier of the practice of Psychogeography; Peter Blake, Daniel Defor and Ellan Allan Poe. There are many names you will know and many you remember as taken part and using mediums to talk about their wanderings, hauntings, topography and the art of being a ‘Robinsonner’. Massey gives a resounding understanding of these theories and gives the audience thoughts and considerations to what Psychogeography acutely is and what is has been theorised. The familiarities to works of Defoe, Blake and Poe and reference to London and Paris, walking and mapping gives the uneducated psychogeographer a base to visualise and recognise thoughts of detection through observation. Coverley then talks about what of Psychogeography today from JG Ballard to Defoes Robinson into Patrick Keiller’s Robinson; the art of still wandering and national identity through the notions of being a Psychogeographer; looking a specific effect of environments through psychology and geography of individuals behaviours and emotions. Coverley’s Psychogeography is a great introduction to Psychogeography and everything you need to know about what and whom. Coverley expresses his opinion on the Potlach of p87 and the humorous sides of the expression of Psychogeography origins, I would like to read more about his thoughts of being a writer writing about Psychogeography. Coverley, M. (2010). ‘Psychogeography Today’. Psychogeography. Harpenden: Pocket Essentials, pp.111-140.Coverley’s book ‘Psychogeography’ gives an insight into the meaning of Psychogeography and the ideologies around the ley lines, the occult, wanderings, dominance, urban hinterland, growth and change through behaviours of individuals or political temperaments. ‘Psychogeography Today’ chapter (p111-p139) stood out, as psychogeographers, JG Ballard, Will Self, Iain Sinclair, Stewert Home and Patrick Keiller concerning Defo, Debord and Peter Ackroyd are discussed from different angles of Psychogeography. These chapters explore the different ideologies of psychogeographers and situationists discussing the change of notion from Ballard and Sinclair to Howels more comedic idea of psychogeography with the disassociation of political shortcomings. Coverley explains their concerns alongside the advances in media psychogeography which has become more mainstream as well as being portrayed in many artists’ mediums. The importance of each individual is there to be read about, and Coverley explains the idea of how Psychogeography can give a national identity and how Psychogeography today has its political concerns and commitments of the Situationists. Subsequently, Situationists are becoming increasingly anxious with their practices as an end to itself and change of elements like greenbelt land, brownfields and the idea of the ‘New Babylon’. A great chapter to get you to think about getting up out of your seat and going and look, show some up with your forthcomings and offerings into the mundaneness and reality of the everyday.Farley, P. and Roberts, M. (2012). Edgelands. London: Vintage.Farley’s and Roberts’ ‘Edgelands’ is the two poet’s exploration and negotiation of the unobserved parts our shared landscape as places and the mystery and possibility to find beauty. Their witty perceptions and nostalgia of the country create a personal approach; a new word in the vast circulation of and variety of different words for diverse landscape. They capture still moments and the romance of the landscape through their words and communicate the moments of place and person. They can compose the most boring place, object, artefact and body as something tranquil and picturesque. The language from the introduction references TV’s Jack Hargreaves, Ladybird books, Marion Shoard’s overspill of housing estates and wasteland, George Perec’s context of the types of snow that Eskimos learn to live in, Richard Mabey’s Unofficial Countryside and Alan Bergers ‘Dorsscope.’ Among all of these references, you find yourself in the enveloped in the chapters and the captured by the vocabulary of Dens, landfill sites, canals and even pallets from all the different areas of our landscape in England. They encapsulate urbanisation and our ‘fight or flight’, and the great escape out of the cities and the motorways to get on ‘A’ roads out toward narrow roads. The poetic writing draws you in and you can visualise the explanatory chapters through their eyes and their nostalgia, but it is there journey and exploration and their edgelands!Friend, R. and Macfarlane, R. (2018). Bastard countryside. 1st ed. London: Loose Joints.Friends Bastard Countryside is a wanders collection of British landscape within a 15-year investigation. The book touches on the thought process of walking, the rambler and explorer of edgelands. Bastard Countryside was first coined by Victor Hugo in ‘Le Misérables’ and was called many things before and will continue to be called different things after. The observation of the ends of trees, the beginning of shops and restaurants and the join of a track and a road. The elements of psychogeography and the sense of place through this photobook is taken up from observation to documentation using crisp, pastel, large format 5x4 reality through photography and photographic series. The more you view and perceive the series the more you start to see the relation of a British born, Australian breed explorer; documenting the change of landscapes and the mundaneness of functionality and the vocabulary that builds through the visual communication; from the wreckage, storage and leakage. This is all seen and also contextualised by writer Robert Macfarlane, with thoughts of the ‘Edgelander’ and what and why Friend is trying to communicate to the viewer. Alongside an introduction by Friend on his Bastard Countryside of the story of change and the fightback of nature ‘… Until eventually the sewers, motorways, backyards and industrial site gave way to the flora and fauna of the Victorian bush’(Friend, 2018). Friends modern insight in edgelands, place through photography and vocabulary is something I want to take to my idea of a particular road. Where Friends is multiple places which I can see as quite confusing to the viewer but gives a holistic approach to different, other and more edgelands, I want to concentrate on a particular alongside a road.Gaffney, P. (2019). We Make the Path by Walking - www.paulgaffneyphotography.com. [online] Paulgaffneyphotography.com. Available at: http://www.paulgaffneyphotography.com/We-Make-the-Path-by-Walking [Accessed 23 Apr. 2019].Paul Gaffney’s ‘We make the path by walking’ is a nominated photobook for the at Kassel photobook festival 2013 award, also shortlisted for the European publishers’ award for photography, and included in the Photo-Eye ‘Best Books of 2013’ list. His website section on the photobook has a small synopsis with information of the making of the photobook, a Vimeo link to a page by page of the photobook and a gallery of selected images. The 40 photos animate the ability to record and see while we walk. Gaffney’s walking took him around Spain, Portugal and France over 3500km of walking. Away from the Santiago de Compostela and into the peaceful off-piste relaxed landscape; the photographs show the minimal landscapes and activity within time, the idea of a geographical change of the crossing of paths made by man and the formation of relationships by man and earth through. The photographs show erosion, patterned foliage, dusty land and moss on rocks, reflections on water, altered delineations of the impact of man without the presence of man. Psychogeography and sense of place and time are apparent and a route of quietness and the form meditation engages the viewer through the photographs and contrast of walking and documentation of the thing under and around us. A helpful look at paths in out of America and England and in Europe and away from the crowds of religious paths like Santiago de Compostela and into a more personal and melancholy approach to a path and photographs. This is just Gaffney’s perception and someone not from this area, the ramble of the photobook is its niche and bravery through beautiful photographs but the thought around the context may be lost on some.Gefter, P. (2009). ‘Travels With Walker, Robert and Andy’. Photography after Frank. New York: Aperture, pp.17-19.This Essay originally published in the New York Times, July 2004 by Phillip Gefter, after Stephen Shores expanded edition of ‘Uncommon Places’ gives the insight to colour photography, travels by the traditions of ‘On the Road’ add rise from Warhol to documenting American culture. The essay represents ‘Uncommon Places’ defining the ordinary and documenting the Shores values and just simply asking ‘what is there?’. Gefter discusses the documentation of the American culture before Shore through seminal work by Walker Evans and Roberts Adams in the 30s and 50s. Gefter comments on the distinguishing factors of Shores work from Evans and Adams through the use of colour from black and white to the emergence of a new era. Looking to define and expand the consciences of monotone ‘itness’ and the ideology of the ordinary. The essay is short and sweet and delves into Gefters’ ideas of sense of place and time of American Culture, but the essay summaries a few men’s names and surely Frank askes the question of road trips and American road trips of others in 2009?Graham, P. (2009). Paul Graham: photographies 1981-2006. Göttingen: SteidlMack.Paul Grahams’ series ‘A1 The Great North Road’ shows the isolation of the driver from the south to the north of England. Graham documents the landscape from point A to point B. He takes photographs of what he sees and what he feels from the time in 81-86 (since conservatives and Thatcher came in 79’) within urban and rural environments. He predominantly focuses on signs, billboards, pylons that in the fore, mid and background for his images. He aims to showcase the interesting, uncared for, unexciting and unremarkable within these different places of which many include images of people. You can sense the relevance of the time, ‘Thatcher’s Britain’ through the eyes of the photographer. The gloominess, dimness, soft nature and true to lack of colour bring in a playful, mundane, ironic sense of being. Looking back from now you can see the movement of then to our roads now. Perfect interaction with the change, a sense of being and an organic awareness of place- something that resonates with my ideas and connotations of nostalgia. I can see the parallels with Graham’s encounter and my A1 journeys as a child and through his eyes as a retrospective of time through the camera on one road at one time.Hague, M. (2019). shop scir burna : matthew hague. [online] Matthewhague.co.uk. Available at: http://matthewhague.co.uk/index.php/store/shop-scir-burna/ [Accessed 23 Apr. 2019].Hagues website with a gallery of the set of photographs and a video/GIF of the zine and title project ‘Scir Burna’ which has been handmade and self-published. The photographs an investigation and journey into new dimension and uncharted territory to Hague as an outsider to England and Coventry. Coventry was voted to be the city of culture in 2021 and last year Matthew Hague set out to visual communicate Coventry through the visual exploration of a historic midlands waterway through walking the line of the cultivated river Sherbourne; The name Sherbourne is said to derive from ‘Scir Burna’, “clear stream” in Old English. Hagues encroach on the natural environment and portrays what he can see using his camera and frame photograph by standing, kneeling, looking up and down and suing a range of techniques to converse men impact on nature and documenting urban sprawl of people through housing estates, roads and paths. Illustrating the place, placement and out of place by a designed route but through the art of walking, drifting and Psychogeography Hague approaches with a sense of place with the alignment through walking and seeing; where some photographs are standing on the path, some are showing the path and others showing what’s off the path. A fantastic look into the art of walking and with intention. The project is limited due to its nature and the limitless of knowledge on the river being paved over in the centre through necessity is partial in the zine and imagery.Kismaric, S. (1990). British Photography from the Thatcher years. New York: Museum of Modern Art.A collection of visual storytelling gathered and harmonised by Susan Kismaric and The Museum of Modern Art in New York. A brief history into the British photography as a forward to the book with commentary on influential work to progress the British photography stamp and then commentary by Kismaric on the inclusion of mass observation and to document and observe in 1936, the influence of Bill Brandts works in 1966, to Britain starting to keep photographs more prominently in 1976. This set a foundation for the photographers to work the goings-on of the ‘The Thatcher’s Years’ and to pave the way to the visual work of photographers; Chris Killip Graham Smith, John Davis, Martin Parr, Paul Graham. The forward gives you narrative to their work and key influencers to the body of works from the photographers; Killips harsh beauty of the landscapes and farmers in the north, Smiths documentation of family and friends within community and the perceive identity of people, Davies respective and objective seeing on urban landscapes and the transition of urban sprawl, Parrs candid sense of dryness within the middle-class social hypocrisy and the nations newfound materialism, and lastly Grahams view of an outsider in Northern Island and vocabulary of social documentation of a place. This book in whole is an insight to certain photographers at a certain time. The photographs all depict a tough time within documentation which is a view of many but not of all. Long, R. (2019). ‘A Line Made by Walking’, Richard Long, 1967 | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-p07149 [Accessed 27 Apr. 2019].Long, R. (2019). Richard Long Artworks & Famous Art. [online] The Art Story. Available at: https://www.theartstory.org/artist-long-richard-artworks.htm#pnt_5 [Accessed 27 Apr. 2019].Richard has been an important artist in Britain from the mid-60s. Working on conceptual and post-minimalism art with context on mostly the environment and environmental issues. Line Made by Walking (1967); is the perfect example of how Longs works is an insight into his and thought process and how an idea is conceptualised. The Tate’s and Artsy Links give a brief introduction into Longs Line Made by Walking. The path he creates is transformed the landscape is altered by walking, to he then documents through a photograph to show us narrative and how we exist within nature and how we are and can make a mark. The line and path he creates shows human intention and can be thought about as presence, time and place. This is only here through Long’s idea and walking and it will fade and disappear without it. This minimalistic thought-provoking art reinstates with pretty much anyone who has walked through the grass. This holistic approach gets us thinking about everyday paths and journeys and the sense of how we are making marks like this and existing in nature. This can be portrayed as what Long has conceptual got us to thinking about looking at it, the other side can be narrow and pessimistic that it is just a path, so what?Massey, D. (2005). For space. Los Angeles: SAGE.Massey records her owns thoughts alongside those od academics, theorists to intertwine the thought of space with also relating the notion of space and place to everyday stories and Massey’s memories. Massey gives thoughts through arguments of modern and post-modernist philosophies of space, place and that of time; the visions of no space, all space, no time, how they both work together, space as text and space as a multiplicity of trajectories. Using theorists such as LacLau, Deleuze, Derridas, Siberley, Graham and many more to communicate interactions, understanding as a sphere of possibility and understand that space is always under construction; Relating back to these three theories and with a passion for social thinking and neoliberal globalisation to relate, implicate and specific space to hybrid definitions of cities and locals and relations to politics. How the world has boundaries, maps and what we, they and I are experiencing within our own space. Setting foundations to staying put because of globalisation and how the hegemony of geographical space can fully challenge space. Massey For Space is a great vision of how we and I should view space and challenge space and time and ask what does space mean? Massey passion of geography and in the encroachment of politics presents opportunities to learn, challenge with change with, old, current new theories, for instance, cyberspace. Massey throughout gives different ideas from the world of academia and gives her own opinion throughout, there is some repetition within the relation to politics but opinions are thoughtful and throughout.Massey, D. (2005). ‘Slices Through Space’. For Space. Los Angeles: SAGE, pp.106-111.Slices through space communicate a chapter through the ‘technology of power’. Masseys discovery with reference of Harley, Levin, Ferrier, Huggan, Jose Rabasa and De Certeau of how maps can understand the form, context, makers, multiplicity and structural activity can position an observer. Western maps are particular talked about and how the sense of given space is a surface and horizontal and has structure but through elements such as culture, it can lend truth and alter foundations and origins. The chapter gives an understanding of maps being out first ‘port of call’ for a new unexplored place and surface, and how maps tell stories, history and can be choreographed to show migration. Massey also extends to the audience connections with a sense of place, space and time and how politics can be an influencer. I want to look at the idea of place and place in areas, along roads and the connections, the hegemonic cognitive and grasp of visions and confusion through the coherent situationist of some maps is an angle to research. Also looking at new experiments of cultural theories and feminist literature maps can give a cartographic representation of place to a certain familiarity in this area of thought and observation. Myers, J. (2012). Middle England. Birmingham: Ikon Gallery.The photobook is a collection of sets of photographs with the overall title of ‘Middle England’ from an exhibition in 1976 at Birmingham Ikon Gallery by John Myers. The photographs range from portraits, televisions, boring photos, substations furniture store and houses. With a foreword from Pete James and essays by Paul Lewis, Eugenie Shinkle. The overall description and depiction are the black and white look into suburban areas in Stourbridge in the 1970s with a deadpan, mundane straightens to the documentation of the here and now. The photographs portray not a snapshot but an insider look in an area of living and domestic landscape, changing landscapes and shaping environments. The 1970s saw the induction of ‘The Thatcher Years’ and Myers detailed and descriptive analysis of the specifies through visual communication are seen within these different sections, an autobiography and historical frame of the rural domestic landscape. Relevance is key with the imagery of the photobook, humanity’s relationship with its environment and the collection of identity through sat portraits of friends and neighbours and the cultures of the working class the insight to their lives and their homes. Myers overall communication and engagement shows everyday life through a span of the different subject matter of the 1970s and a new political rule. The familiarity is key and the Myers documents what he saw and represents the people with a rejected of the value-added within this time in history in England; ‘New England’ and ‘Middle England’. A wider range could have been documenting out of Stourbridge and Worcestershire to show more of range of areas, people and sense of place through photography.Robinson in Ruins. (2011). [DVD] Directed by P. Keiller. England: BFI Video.This third film by Keiller and Robison’s third adventure after his release from prison. The narrator talks through the 19 rolls of film and notebook that fictional Robinson leaves in an abandoned caravan for someone to tell his tale. The romantic tale of a journey, the change of times and the notion of nature vs. man-made in overall Psychogeography of walking, reading and writing, is rendered in Keiller’s visual style, of great composition and close-ups encapsulating in the narrative. The small lapses in sound and longer video clips in and around Newbury, England from 22nd Jan 2008 as Britain entered a banking crisis, emphasise and makes you think about what you have seen and heard through the film from the close-ups of road signs life growing on them, to the repeated growth of an old house over time as building renovate. Keiller shows the relation with the country, the landscape, capitalism, changes of movements, the notion of the old road roman roads now reaching a Lidl and not a ferry crossing, giving this idea and notion of the need for a new utopian community. This nostalgic film through factually history and relation to me in areas I live in, where I have seen changes of the landscape over time and as I have become older, but there is no relative to people of Newbury, do the locals care? Should they care? Do they want, need a Lidl or the Mini plant? Our society and government changing their landscape for the good or bad? Has there been some landscape change to help and support this area?Self, W. and Steadman, R. (2016). Psychogeography. [S.l.]: Bloomsbury Publishing.Self’s Psychogeography book is storytelling through whimsical experiences of personal travel through walking, talking and swimming. Self sees himself as a Psychogeographer and through the book travels across the world, from Australia, Ohio, Naples to India (to name a few) telling stories with a relation to be a Psychogeographer but not making obvious. The first story sets up the book to portray the idea of Self as a drifter through walking to New York. Setting off from London Self talks you through what he sees and reflects what he knows sees, feels and remembers about the places he walks into. This walk is post 9/11 and as he walks through airport security as Self boards the plane and gets out at JFK he cannot get out, he soon wonders down roads to walk through the districts of New York. From Sunny and pleasant London and grey and dull New York he Reaches Queens. The story creates a vocabulary of what Self sees and he talks of the political structure from Peter Ackroyd’s research and deep topography of Nick Papadimitriou. This opening epilogue sets up Self’s divisions of being a Psychogeographer and his understanding of place; from bouncy castles to gun markets, min bars, tunnels of Merseyside and the bleakness of the Midlands. We learn thought Self’s stories and Ralph Steadman’s illustrations about Self; his comforts, frailties and thoughts. The stories to not shout out Psychogeography but the introduction gives you background and context to the stories and give you an idea of expectations to reality and real-life vs. a holiday catalogue and rural and urban life.Solnit, R. (2002). Wanderlust. London: Verso.Solnit’s 2014 book Wanderlust in a collection of essays/stories of walking as a culture and geography around the world and with Solnit’s commentary and thought process draws on the meaning of walking and arrival has become more important and the travel. With relations to what is going on when the walking, travelling and stories where being acted out, from cultures to politics leading up to the end of the 1990s when Solnit finished the book. With chapters and sub-chapters of ‘The Pace of Thoughts’, ‘From the Garden, the Wild’ and ‘Live Of The Streets’ the chapters that took my curiosity was ‘Two Walkers And Three Waterfalls’. These essays/stories do not give an insight into the history of walking or Wanderlust but stories of walking and what people felt, saw and wrote. William and Dorothy Wordsworth famous a famous romantic poet and author, and poet herself, the story is of their walk in the Lake District’ seeing the British countryside for it is. The chapters dialogue tells the relation between the Wordsworth and their walking and how there is a relation to their work and how experiences of old and new walks can invoke culture and aesthetic experience. Wordsworth is mentioned in other stories, the walking, rambling, wandering and derive through storing telling is a great understanding of the derive and getting around on foot from like the heritage before us. The essay/stories are interesting, Solnit has passion and romance for walking, but I feel she has missed out the history of walking and that from other countries besides America.Tonks, J. (2014). Empire. 2nd ed. Stockport: Dewi Lewis Publishing.The namely ‘Empire’ photobook by Jon Tonks delves into the British Empire and the remote British territories of St Helena, Ascension Island, Tristan Da Cunha and The Falklands Islands, a look into the history and the familiarities and the redress urge to place sense. The photographs are occupied by text about the people and or place, from fisherman to guards and policeman to post offices, churches and street signs. This text gives an insight to Tonks curiosity from 2007 to 2013 and the idea of nostalgia and poetical content but more about the inquisitiveness of the place and people as Tonks and his travels back and forth to the islands. Meeting people residing there and the tenuous links to modern British life and the thought of isolation, the crossing of lines, edges and boundaries and ‘mother country’ and ‘Britishness’ all through Tonks photography and storytelling. This ‘lives and looks’ approach to photography through ‘Empire’ and its life span as a body of work in a great insight into documenting something unseen through text and conversion but more than apparent in the photograph. The accessibility through text gives narrative but short and sweet? Did Tonks meet them there and then with a question and a photograph and wave goodbye? The sense of place and means to get somewhere is poetic and just, the use of maps, text, images to overall tell stories is an approach I want to take in my own practice walking, talking and getting to know a place through curiosity but maybe nostalgia as well.Tuan, Y. (2005). Space and place. Minneapolis, Minn.: University of Minnesota Press.Experience and perspective are the foundations for Tuan’s Book ‘Space and Place’ a seminal piece of writing that is still relevant 25 years own since its release. Tuan a human geographer brings together his thoughts on people’s attachments to home, neighbourhoods and the nation, this book has been a milestone and influenced the world from theatre to psychology and theology. His chapters are thoughtful and insightful, and one chapter stood out to me within my investigation to placeness and the means to know somewhere thought experience and from childhood to adulthood. The ideology and his thoughts throughout the book are that of a place is security and space is freedom, knowing and knowing about with an awareness of who and where we live. Tuan brings in diagrams to talk about the enduring place of rock formations and famous landmarks and then that of architecture to the paths and place of seasons and stages of life. Tuans’ questions routine, home on earth and do we need to know? Space and Place is quite leading and can be seen as biased but it is quite obvious and Tuan does not hide his thoughts and feelings about time, space and place and his thoughtful persona does ask questions and get you to think but, he does not say that we need one thing or need anything and that we must have knowledge of sense of time; it is his insight and we can take it or leave it.Tuan, Y. (2005). Space and place. Minneapolis, Minn.: University of Minnesota Press, pp.19-33.‘Space, Place and the Child’, communicates the experience from a child to an adult. How we grow to more complex and conceptual knowledge through understanding our environments. Tuan talks about the limits we have as children from seeing, hearing and moving. As we grow, we start to get up and follow our Mothers to then start to see control stations and being mobile allows us to experience more. Walking and observing makes us grasp more and start to distinguish the difference from home and the outside. As we move to elementary years that place can then bespoke, specific and we are more sophisticated and be given a story with more geographical context. ‘The picture of a leading to a distant cottage seems easy to interpret; yet the road makes full sense only to someone who has walked on it’ (Tuan, 2005, p. 22). This chapter and this quote were an eye-opening read to a book I found hard to distinguish some relation to photography and sense of place, time and space. I want to create nostalgia through photographs; Tuan philosophies within experience gives me the idea to create images of what I saw from my childhood up and down a road and how my experiences from child to adult and everything in between can relate to the place and others.Wood, D. (2018). Gap in the hedge. 1st ed. Another Place Press.The book tells a narrative of a journey through Woods home town within the Rhondda Valley in South Wales, through the A4107 and the A4601 which stretch across 25 miles. The journey depicts the personal touch that is added from photographers before Wood; Eggleston, Southam and Graham of hometowns and journeys they took as kids. The photos communicate an identity of work, play the people vs the landscape, peace and tranquillity, emotion and overall nostalgia of Woods hometown; safety. The photos delve from landscape to portraits and show the depth of a small Welsh town and the relationship that your form with the area and the elements of Woods life you take in with; air, space and purity of the film and medium format work that bring our beautiful colours of greens and blues from early mornings to photographs of early evenings to late nights the launch of whites and oranges. The overall ‘Gap in the Hedge’ is Woods documentation by working and walking on your own within a journey to the people that Wood has met on this journey or within his life. Journeys have been used within photography content and contextualized within their visual communication from the great Americans of Robert Frank, to William Eggleston to Alec Soth, photographers are starting to give personal accounts of sense of place within their own nostalgia opinions through visual communication of places and an area and giving the viewer afterthoughts of postmodernism and realism.