Autoflora - evolution of a project

[Ed Sutton]

I don't know if this stuff is creative, but I'll post it here anyway and hope that as I describe the way this project developed over time might give some clues as to how ideas can be developed from chance beginnings and worked on from the results as they appear.

It all started back in 2011 when I bought a wide angle lens and fancied seeing how slow a shutter speed I could hand-hold it at and get sharp enough results. I did this by the side of a road as the sun set to make the tail lights of passing vehicles streak. I got down to 1/15th of a second. A year later I was out with the same lens when I was struck by a wild flower growing near the road and thought of making a few pictures where the flower was sharp and the passing cars were blurred, knowing that at 1/15th it would be possible.

This then got me thinking about what the picture was saying. It seemed to me to tie in with other stuff I'd been doing relating to nature reclaiming environments that had been altered by humans. But also about the difference between the time frame we live in and the time frame that the natural world runs on, about plants growing slowly in one place while we rush about everywhere. Stuff like that. Also about more formal concerns such as colour relationships and shapes. I like to try and combine a concept with picture making in formal sense.

The next step was to try to make pictures which made these points in a more concise way. Initially I made the plants small and the cars large with a little environmental context by including elements like cats eyes and road markings. Some of the pictures were OK, but not really doing much for me. As autumn drew on the plants died back and I put the project to one side and eventually forgot about it.

By chance, one day the following year I was out trying to do something else without much focus or success when I recalled what I'd done with the car and plant pictures and took a slightly lower viewpoint using a longer lens.

This picture provided the breakthrough I needed. Although not what I was after, the picture had more graphic impact. I realised I didn't need to show a whole car for it to read as a car. I'm not too quick on working out what I'm trying to achieve. If I could get at the same level, with a longer lens, I would be able to compress the space between the plants and cars, making them both large in the frame and therefore simplifying the images. It worked and I made a number of pictures which I thought succeeded. At this point I thought I'd taken the project as far as I could - I posted this next picture on here last year in a 'my best shot of 2013' thread.

Another year passed and once more I found myself without many workable ideas last summer and ended up by the road again with the long lens. I got down low and started playing around with slower and slower shutter speeds. Even with VR I began to struggle to hand-hold and keep the plants sharp, but the results were interesting. I returned with a tripod and a remote release. Not being a technical camera user this was where I got out of my depth! I was still getting camera shake. It wasn't until I was back home reviewing the shots on the computer that I twigged it was mirror slap... Previously I had been shooting in continuous mode thinking that was the best way to guarantee getting something in the frame as cars whizzed by. Now I was going to have to lock the mirror up and try to time the shots.

As it turned out this approach gave me a far better hit rate. Camera on tripod, mirror locked up, remote in hand I waited until a car was close and fired the release. More often than not I got a result. I was now able to drop the shutter speed to 1/10th. Any slower and the plants become blurred. I knew windy days made it impossible to work on this project but at really low shutter speeds the plants were registering movement caused by the draught from the cars. As I was shooting late in the day to take advantage of the sun's low angle, and I wanted to try to get shadows of the plants in some shots, there was too much light to maintain low shutter speeds. Not having any ND filters I dropped the ISO below base 200 and stuck a polariser on the lens. This wasn't ideal but it helped.

With all that done I got a number of pictures which I was pleased with. They show how plants find their way into cracks in the man-made environment and the differences between natural and mechanical forms. In some the body of the car partially 'disappears' in the blur, perhaps hinting at the ephemeral nature of cars which get scrapped compared to nature itself. Maybe nobody else can see this? I think the best of them make pictures which are interesting to look at regardless of any 'arty b*****ks' I might write to explain them!

I suppose I could go out again next summer and add some more pictures to the set now I know what to do, but that would feel like covering the same ground and for me the journey is always more interesting than the destination. Then again some of the pictures (not shown here) could be developed in other ways. It's always difficult to know when a work is finished, but I think this project has run its course and those ideas might find their way into a different, but related, project.

Anyway, this is an example of the way I approach my photograph, yhow a random shot taken to try out a new lens became the germ of inspiration which lead to me working on an idea that kept me thinking, solving problems and shooting, on and off over a few years. For me the only way I can generate ideas (what others might call finding inspiration) is by taking photographs and seeing what they make me think of and about, which leads to making more pictures, and so on until there's a body of work based on some theme or other. Often the way this starts out, even the intention, can change as the photos are taken and fresh ideas materialise. Some projects run out of steam, some get picked up again later, some are over and done with quickly. There are no set rules.

 

[Solo man]

Thanks for the write up explaining all that Dave... I especially found it interesting how you came to develop the idea. For me, I think image 3 and 5 work very well.
Image 5 is very good.

 

[droj]

I find these very refreshing, both singly and together. Yes, of course they're creative - they're the product of forethought and aesthetic judgement but so are lots of things, so I may reiterate that word refreshing ... they embody a certain alertness that goes beyond the technical. They made me smile, too - they're fun!

 

[chris malcolm]

I like your explanation. I too have got hit stuck, run out of inspiration. When that happens I often sit around trying to think up a project idea, look at the work of other photographers, etc.. And it has never worked. I've never thought up a good project by siiting down & thinking about it.

Now I reflect on it all my good project ideas have happened in much the way you've described. First there's the accident, finding something unexpected & interesting in a shot. So I start looking for that kind of thing and photographing it carefully. Those efforts often bring up a difficulty which need a new bit of gear, often something quite simple and DIY, such as a sheet of paper and a rubber band to make a flash bounce card, or a big black scarf and some clothes pegs to make a black background for a flower.

One thing leads to another. Sometimes it leads to a good theme or project, sometimes I just end up learning something which might come in useful later. But somehow I managed to neglect all that experience as "just accidents" & remained convinced that when stuck for inspiration I needed to sit down with books, computer, etc., and make an effort to think or brainstorm one up.

Your post made me realise that trying to think up inspiration has never worked for me. What has worked is picking up the camera and going out with no other purpose than wandering about looking for a photograph. Thanks!

 

[petersmart]

Excellent idea and so very simple - once it has been explained - that any one could do it - if thy had thought of it!

A really winning idea in my book.
.

 

[Pookeyhead]

@Ed Sutton

That was a very enjoyable read indeed, and was very insightful. Thanks for posting it.

The work is strong too, particularly how you used the concept as the underlying measure of whether the images are "working". You've used the concept as the barometer, not the formal values of composition (rules) or technical matters to judge the work. I'm not suggesting these weren't considered as the work clearly shows great understanding of those things... just that you are judging those things based on how they enhance the meaning of the images rather than as a means in itself.

There's a great deal to like about this project. I think, being critical, it may be more useful to discuss certain things in more detail... for example...

"Some of the pictures were OK, but not really doing much for me"

I think for yourself, and for the benefit of the reader (who you are clearly considering here) you need to explain a little more about WHY they weren't doing much for you by measuring the images content against what the overall goal of the project was. On this point, I don't feel you've made that clear. Some would say that the image should be doing that, and they'd be right, but that doesn't mean that you, as the author shouldn't be measuring the success of the image against the goals yourself to give context to the viewer.

A great deal can be inferred, and is indeed obvious. The tenacity of nature - the fact that seemingly fragile, pretty things like flowers can survive in seemingly inappropriate and hostile surroundings.. this much should be obvious to the viewer, and you do mention this. There's more to be read from it though.

The title is interesting. It has duality: Auto as in the prefix for anything related to motor vehicles, and auto as in the automatic way nature seeks out existence in this pre-programmed way.

The cars themselves provide the contrast, but there's also another layer that suggests that we are oblivious to so much going on around us while we engage in travel.

1 & 2 "look" like a technical exercise, as you're concentrating too hard on the formal values for the sake if it... but you acknowledge this yourself

3 starts to take shape in a way more sympathetic to the project's aims I feel. By regulating the composition in a more rigid way that isn't trying to "wow" the viewer with depth of field, and the effects of the equipment... it takes on a more topographical, cold enquiry that merely contrasts the car's power, coldness and perceived unstoppable-ness against the flowers perceived fragility... yet actually challenges that by it's very reality - the car is actually the fleeting, transient thing, and the flower is the symbol of permanence. I like the rigidity in composition that doesn't try too hard here.

I actually think 3 has achieved the kind of balance the project needs. 4 works well here too.

I can't help but feel 5 and 6 have gone too far into technique again. While the abstraction speaks of the qualities I mentioned in image 3's crit, I feel it's trying too hard to be "clever" technically when it's actually not that necessary. As always, I feel that unnecessary aesthetic embellishment can confuse an image.

If my reading of the project's purpose was correct, I have a strong feeling of connection with image 3 and 4 regarding whether they are achieving the goal of the project.

I like the way you're mostly leaving aesthetics alone until you've resolved the more critical issues of meaning though. That's something rarely seen and a measure of someone who is creating work with purpose and not merely trying to make a pretty picture. I do feel that now you HAVE done that... aesthetics should NOW be considered... always the last thing.. never the first.

I think that starkness and rigidity of image 3's aesthetics and formal values best suits the project. It gives it a seriousness.. meaning it seems as if the concept is more important to you than the "look at meeeee... I'm a photographer" element of showing off. Sometimes it's nice if you can pull it off in a way that doesn't harm the meanings intended... but it's not always possible.

A nice evolution of a longer term project.

 

[Ed Sutton]

Thanks for the write up explaining all that Dave... I especially found it interesting how you came to develop the idea. For me, I think image 3 and 5 work very well.
Image 5 is very good.

I find these very refreshing, both singly and together. Yes, of course they're creative - they're the product of forethought and aesthetic judgement but so are lots of things, so I may reiterate that word refreshing ... they embody a certain alertness that goes beyond the technical. They made me smile, too - they're fun!

Excellent idea and so very simple - once it has been explained - that any one could do it - if thy had thought of it!

A really winning idea in my book.
.

Thanks all. Naturally I posted what I think are the best shots from each stage.

I'm glad they were fun to look at, Rog because they were fun to make.

Your post made me realise that trying to think up inspiration has never worked for me. What has worked is picking up the camera and going out with no other purpose than wandering about looking for a photograph. Thanks!

I have come up with loads of ideas for projects when I'm sat at home, I write them down in a note book, but inevitably when I set out to work on them nothing interesting happens. It's as if thinking up the idea was sufficient to satisfy my 'creativity'. Then there are projects I start in a similar way to this one that just get bogged down. There are good pictures made, but no overall flow to the project. There always has to be something that provides a 'breakthrough' and makes me understand what it is I'm doing.

 

[Ed Sutton]

@Ed Sutton

That was a very enjoyable read indeed, and was very insightful. Thanks for posting it.

The work is strong too, particularly how you used the concept as the underlying measure of whether the images are "working". You've used the concept as the barometer, not the formal values of composition (rules) or technical matters to judge the work. I'm not suggesting these weren't considered as the work clearly shows great understanding of those things... just that you are judging those things based on how they enhance the meaning of the images rather than as a means in itself.

Thanks David. It's nice to get some considered feedback after spending my time making photographs pretty much in a vacuum.

There's a great deal to like about this project. I think, being critical, it may be more useful to discuss certain things in more detail... for example...

"Some of the pictures were OK, but not really doing much for me"

I think for yourself, and for the benefit of the reader (who you are clearly considering here) you need to explain a little more about WHY they weren't doing much for you by measuring the images content against what the overall goal of the project was. On this point, I don't feel you've made that clear. Some would say that the image should be doing that, and they'd be right, but that doesn't mean that you, as the author shouldn't be measuring the success of the image against the goals yourself to give context to the viewer.

When I said the images weren't working I meant that they were partly too obviously about cars, and also not making the point about the relationship between the cars (and modern life) and plants (nature in general) strongly enough. No 1 strikes me as something that might appear in an editorial or advertising context, for example. No 3 also to a degree. I needed to simplify and to try to make the pictures more abstract while still retaining the message.

A great deal can be inferred, and is indeed obvious. The tenacity of nature - the fact that seemingly fragile, pretty things like flowers can survive in seemingly inappropriate and hostile surroundings.. this much should be obvious to the viewer, and you do mention this. There's more to be read from it though.

The title is interesting. It has duality: Auto as in the prefix for anything related to motor vehicles, and auto as in the automatic way nature seeks out existence in this pre-programmed way.

The cars themselves provide the contrast, but there's also another layer that suggests that we are oblivious to so much going on around us while we engage in travel.

1 & 2 "look" like a technical exercise, as you're concentrating too hard on the formal values for the sake if it... but you acknowledge this yourself

3 starts to take shape in a way more sympathetic to the project's aims I feel. By regulating the composition in a more rigid way that isn't trying to "wow" the viewer with depth of field, and the effects of the equipment... it takes on a more topographical, cold enquiry that merely contrasts the car's power, coldness and perceived unstoppable-ness against the flowers perceived fragility... yet actually challenges that by it's very reality - the car is actually the fleeting, transient thing, and the flower is the symbol of permanence. I like the rigidity in composition that doesn't try too hard here.

I actually think 3 has achieved the kind of balance the project needs. 4 works well here too.

I can't help but feel 5 and 6 have gone too far into technique again. While the abstraction speaks of the qualities I mentioned in image 3's crit, I feel it's trying too hard to be "clever" technically when it's actually not that necessary. As always, I feel that unnecessary aesthetic embellishment can confuse an image.

If my reading of the project's purpose was correct, I have a strong feeling of connection with image 3 and 4 regarding whether they are achieving the goal of the project.

I like the way you're mostly leaving aesthetics alone until you've resolved the more critical issues of meaning though. That's something rarely seen and a measure of someone who is creating work with purpose and not merely trying to make a pretty picture. I do feel that now you HAVE done that... aesthetics should NOW be considered... always the last thing.. never the first.

I think that starkness and rigidity of image 3's aesthetics and formal values best suits the project. It gives it a seriousness.. meaning it seems as if the concept is more important to you than the "look at meeeee... I'm a photographer" element of showing off. Sometimes it's nice if you can pull it off in a way that doesn't harm the meanings intended... but it's not always possible.

It's interesting to see what other people read into pictures, especially when it's stuff I hadn't considered. But then photographs always contain more meanings than we initially imagine.

I take your point about the last two having gone too far with technique, and it's possibly why I think I have taken this as far as I can. There are more pictures which I haven't posted that made the final (perhaps!) edit, including a pair of pictures which I'd probably 'book end' the series with if it were presented in some way which were shot at an equally slow speed to 5 and 6 which eliminate pattern altogether - one is red and the one below one is green (stop/go). These were among the last pictures I took.

 

[Elines]

This is an excellent thread and it seems to me that in any hierarchy of 'creativity' then you are pretty well at the top with what you have been trying to do.

I also think you have generated a really good discussion - TP at its best

 

[Solo man]

@Ed Sutton

That was a very enjoyable read indeed, and was very insightful. Thanks for posting it.

The work is strong too, particularly how you used the concept as the underlying measure of whether the images are "working". You've used the concept as the barometer, not the formal values of composition (rules) or technical matters to judge the work. I'm not suggesting these weren't considered as the work clearly shows great understanding of those things... just that you are judging those things based on how they enhance the meaning of the images rather than as a means in itself.

There's a great deal to like about this project. I think, being critical, it may be more useful to discuss certain things in more detail... for example...

"Some of the pictures were OK, but not really doing much for me"

I think for yourself, and for the benefit of the reader (who you are clearly considering here) you need to explain a little more about WHY they weren't doing much for you by measuring the images content against what the overall goal of the project was. On this point, I don't feel you've made that clear. Some would say that the image should be doing that, and they'd be right, but that doesn't mean that you, as the author shouldn't be measuring the success of the image against the goals yourself to give context to the viewer.

A great deal can be inferred, and is indeed obvious. The tenacity of nature - the fact that seemingly fragile, pretty things like flowers can survive in seemingly inappropriate and hostile surroundings.. this much should be obvious to the viewer, and you do mention this. There's more to be read from it though.

The title is interesting. It has duality: Auto as in the prefix for anything related to motor vehicles, and auto as in the automatic way nature seeks out existence in this pre-programmed way.

The cars themselves provide the contrast, but there's also another layer that suggests that we are oblivious to so much going on around us while we engage in travel.

1 & 2 "look" like a technical exercise, as you're concentrating too hard on the formal values for the sake if it... but you acknowledge this yourself

3 starts to take shape in a way more sympathetic to the project's aims I feel. By regulating the composition in a more rigid way that isn't trying to "wow" the viewer with depth of field, and the effects of the equipment... it takes on a more topographical, cold enquiry that merely contrasts the car's power, coldness and perceived unstoppable-ness against the flowers perceived fragility... yet actually challenges that by it's very reality - the car is actually the fleeting, transient thing, and the flower is the symbol of permanence. I like the rigidity in composition that doesn't try too hard here.

I actually think 3 has achieved the kind of balance the project needs. 4 works well here too.

I can't help but feel 5 and 6 have gone too far into technique again. While the abstraction speaks of the qualities I mentioned in image 3's crit, I feel it's trying too hard to be "clever" technically when it's actually not that necessary. As always, I feel that unnecessary aesthetic embellishment can confuse an image.

If my reading of the project's purpose was correct, I have a strong feeling of connection with image 3 and 4 regarding whether they are achieving the goal of the project.

I like the way you're mostly leaving aesthetics alone until you've resolved the more critical issues of meaning though. That's something rarely seen and a measure of someone who is creating work with purpose and not merely trying to make a pretty picture. I do feel that now you HAVE done that... aesthetics should NOW be considered... always the last thing.. never the first.

I think that starkness and rigidity of image 3's aesthetics and formal values best suits the project. It gives it a seriousness.. meaning it seems as if the concept is more important to you than the "look at meeeee... I'm a photographer" element of showing off. Sometimes it's nice if you can pull it off in a way that doesn't harm the meanings intended... but it's not always possible.

A nice evolution of a longer term project.

Thank you for your very insightful critique David... it isn't often we get such an 'in depth' piece of writing accompanying an idea/set of images, and even less often a critique to match, so it was interesting to read what images you thought worked, and why....
Certainly a lot to ponder for those of us attempting to be more creative with our imagery.
And also, as Dave/ Ed Sutton mentioned, it's interesting to see how other people read images...

 

[Yv]

I have to say Ed, if the only thing that comes out of this thread is that 2 or 3 of us realise that trying to sit down and come with ideas for projects is not necessarily the way to do it, then you have every right to consider it thoroughly successful! I actually think a lot more is already coming out of it, but that particular point is the one that is really resonating for me as I read through.

3 and 4 are the two for me that scream out the point of what you were trying to achieve, I am a simple soul, but I can see 'car', I can see 'plant' and I can see the relationship between the two and contrasting lifestyles of both - much aided of course by your explanation of where the project was going. Oddly, 5 is the one I like from a 'pretty picture' perspective, which sounds a bit dismissive, it isn't meant to be. If I was looking to pull out one to hang in the hallway from those you have posted, it would be that one, purely from an aesthetic point of view, though I think that is not the point of this exercise, they are designed to be viewed as a whole, as a set - in that scenario, 5 actually jars in my opinion almost because it is too 'pretty'.

Thankyou for sharing, it would be good to see more of this kind of thing around here to show the broad spectrum of photographers we have.

 

[The23rdman]

TP had redeemed itself in one thread. Thoroughly enjoyed reading that. Nice work, Ed.

 

[TheBigYin]

An excellent and thought provoking description of how a project can take shape and evolve if given a little time and attention - it's certainly got me thinking about one or two of my long-term projects that have pretty much been shelved, and how I can revisit them and see if I can get them moving again.

 

[Ed Sutton]

Thanks all. I'm not sure I'm any more 'creative' than anyone else, though. I probably just have more time to daydream than most!

I have to say Ed, if the only thing that comes out of this thread is that 2 or 3 of us realise that trying to sit down and come with ideas for projects is not necessarily the way to do it, then you have every right to consider it thoroughly successful! I actually think a lot more is already coming out of it, but that particular point is the one that is really resonating for me as I read through.

I'm glad if this thread has given people ideas for how to approach their own photography.

I often read on here that people are 'stuck' and can't think what to shoot. It doesn't work for everyone, but just looking back through my photos helps me at times like that. Although sometimes it depresses me! Or just picking up the camera and going for a walk. It doesn't work every time but it can. Other people, however, work better by planning everything out in advance down to individual shots. We all have to find the ways which work best for us to generate ideas.

When it comes to projects I find that if I have an imaginary end point (I pretend I'm making a photobook, perhaps) that can help focus the direction the project takes as I start thinking about how pictures will work in series or on opposite pages. This project didn't really have that driver, I imagined it more as a set of pictures to be hung on a wall.

3 and 4 are the two for me that scream out the point of what you were trying to achieve, I am a simple soul, but I can see 'car', I can see 'plant' and I can see the relationship between the two and contrasting lifestyles of both - much aided of course by your explanation of where the project was going. Oddly, 5 is the one I like from a 'pretty picture' perspective, which sounds a bit dismissive, it isn't meant to be. If I was looking to pull out one to hang in the hallway from those you have posted, it would be that one, purely from an aesthetic point of view, though I think that is not the point of this exercise, they are designed to be viewed as a whole, as a set - in that scenario, 5 actually jars in my opinion almost because it is too 'pretty'.

I'm glad I posted this thread for myself. The feedback has helped me reappraise the work, and realise that I had fallen into the trap of making 'pretty' pictures towards the end. I think the reason that happened is that once I have worked out how to do something consistently (in this case get sharp plants and blurred cars) I get bored and look for ways to make what I'm doing interesting for me again. Also the idea of a set of images all shot at the same shutter speed varying only in the plant and car wheel strikes me as tedious. Once you have one such shot the others are only saying the same thing.

Nonetheless it's interesting to see how different people respond to the different pictures. I showed an edit of the series to a friend and he was taken by one picture which I didn't think much of (not shown here and I can't find it...), which makes me think that having variety in the set is a good idea.

As I mentioned in the 'how creative are you' thread there's nothing I like more than talking about myself, so I'll shut up now!

 

[Brian_of_Bozeat]

What I like is that you could have shown us this set without any commentary and the message would have been perfectly clear, but I'm glad that you did add the text because I feel I've had an epiphany while reading through the thread! It will take me a while to digest some of the things that have come up, So for the meantime I'll just say - Many thanks for sharing. As Chris said, TP at it's best.

 

[susiejb]

Hi there, I only found my way here from the discussion on placing threads and it's another very positive reason why they need to be more readily available to find. This thread so interesting and your input and the accompanying comments provide so much information and thought provoking ideas. I do hope you'll continue it, I love the concept of how in our busy lives we miss so much by whizzing here there and everywhere.
I'll be back to read through it all again later.

 

[Ed Sutton]

Thanks Susie.

 

[TimmyG]

Really like this project Dave. The initial images really appealed to me in the fact they show how nature survives at the fringes of mankind. I think that message became less clear as the vehicles became more abstract, although that last one is a great image. All in all, very inspiring stuff. I've been mulling over how best to capture urban wildlife, incorporating more of the urban into my shots and you may have just presented me with the solution (particularly with the use of slow shutter speeds to highlight the "pace" of modern day life).

Coincidentally, I have just received a new wide angle lens today which I have been playing around with this aft. Hopefully you won't feel it is a case of bare-faced plagiarism, and take it more as complimentary if I start to post some similar style of shots over the next few months!

 

[Ed Sutton]

Thanks Tim. The feedback on this thread has made me appreciate the strengths and weaknesses of my shots to date. I'm hoping to revisit the project once the 'weeds; have started to sprout this spring/summer to try and make a final, cohesive, set of pictures. I've got some other ideas to add to the mix too.

No problem using my pics as a jumping off point. After all, I didn't invent motion blur!!

 

[Pookeyhead]

Any movement on this? I thought it was extremely interesting.

 

[Swanseajack]

Nice thread bump, I missed this the first time round. Thoroughly enjoyed reading the thought process of the project and the comments after.

 

[Ed Sutton]

Nice thread bump, I missed this the first time round. Thoroughly enjoyed reading the thought process of the project and the comments after.

Thanks.

Any movement on this? I thought it was extremely interesting.

Sadly no movement as there are hardly any plants in the location at the moment. Either the council got the herbicides out earlier this year or the cold spring has held them back. I have looked for other locations but not found any practical ones so far. The project is still in mind while I do other things.
However, I have taken a related turn that may or may not become part of the project. On the whole I think it might be better separate. Plants growing in abandoned car parks.

 

[Pookeyhead]

No.. that fits perfectly! One concern I had with the project was how it could be sustained with such a formulaic approach, and this is one way to diversify, but stay bang on target IMO.

 

[steveo_mcg]

You could also investigate plants growing from buildings, perhaps car dealers or factories. Might be a bit laboured of course.

 

[Ed Sutton]

If a friend of mine didn't live so far away I'd go and photograph his car. It's passed it's MOT twice with a flower growing out of one sill!

It has crossed my mind to find some abandoned cars with plants growing on/over/through them though. And there are a couple of other ideas I have in mind to pursue.

 

[ChrisR]

If a friend of mine didn't live so far away I'd go and photograph his car. It's passed it's MOT twice with a flower growing out of one sill!

It has crossed my mind to find some abandoned cars with plants growing on/over/through them though. And there are a couple of other ideas I have in mind to pursue.

That would complement the nature versus tech element of the theme nicely. Would have to be done carefully to avoid being... dunno the right word... too much cliche? So perhaps not an end point?

Plant destroyed by vehicle another option?

 

[Ed Sutton]

That would complement the nature versus tech element of the theme nicely. Would have to be done carefully to avoid being... dunno the right word... too much cliche? So perhaps not an end point?

Plant destroyed by vehicle another option?

I am thinking of farm tracks where the vegetation thrives either side of and between the bare ground that tyres keep free. And the varying degrees that can be seen of this. Something along those lines. Although until I go out and start taking photographs I'm never sure where I'll end up!

 

[Ed Sutton]

Some more 'sketching' as I call it. Playing around with ideas until something clicks. Not too sure anything has just yet. I have other thoughts to follow up yet.

The way the track fades out into grass and stuff in this location seems apposite. But don't think I've 'got' it in this frame.

The tyre marks are why I took this one.

Then I remembered another car park that's becoming overgrow that I've photographed before.

There was strong wind blowing that blurred the longer stems at slow shutter speeds. Easily accessible so could return.

 

[Pookeyhead]

I have a feeling these are starting to become too rustic... too much about the growth... then again... maybe that becomes a chronological thing as the series progresses. Starting with these single isolated plants with all the high speed machinery rushing past, and eventually ending up with something like the first image in your previous post.

 

[Ed Sutton]

I'm not one for planning projects, whenever I do they don't get completed (or even started) because having the ideas was enough, so I don't know where I'm heading yet. If anywhere. I think you're right that the photos above are out of step. These locations just happened to be handy to spend a couple of hours at of an evening to play with ideas.

In fact the more I think about the original photos the more I think that's as far as they need to go. No need to make a bigger project. Keep it as a short series of no more than ten pictures rather than labour the point. The 'message' is pretty simple so keep the pictures concise. If I do develop it it'll be to take a load of shots of one plant with different vehicles passing and put them in a flick book - the plant remains motionless as the pages are flicked but the cars in the background change.

However, I do seem to have a thing about cars, or more properly car use. http://www.dlst.co.uk/photos/out/index.html

I've been making photographs of car parks and parking related subjects for some time. The irony of cars giving people freedom to travel, only to to find themselves controlled by lines and signs when they reach their destination, being the original spur for those photos. These recent pictures of moss and plants obliterating those lines and signs when cars aren't present could provide a counterpoint to tie in with them.

Or perhaps there is a Big Project I've not been aware of and these are chapters in it?

Like I said, I don't go much for planning and prefer to let things develop haphazardly - then I usually give up and start something else! I think it was Picasso said that a painting is never finished, it's abandoned.

 

[Musicman]

However, I do seem to have a thing about cars, or more properly car use. http://www.dlst.co.uk/photos/out/index.html

I've been making photographs of car parks and parking related subjects for some time. The irony of cars giving people freedom to travel, only to to find themselves controlled by lines and signs when they reach their destination, being the original spur for those photos. These recent pictures of moss and plants obliterating those lines and signs when cars aren't present could provide a counterpoint to tie in with them.

Oh, those studies of parking spots are great: rain shadows, I would call them.

Or perhaps there is a Big Project I've not been aware of and these are chapters in it?

I think you're on to something there.

 

[Ed Sutton]

Thanks Rob. The 'rain shadows' is one of the projects I'm most satisfied with. And it took less than an hour to complete, and not much longer to turn into a Blurb book!

Did I mention the 250 photos I took one day of double yellow lines?

The idea was to sequence them in a video loop so the lines faded in and out - some were worn and hardly visible. But the task proved too much for me and my clunky software.

There might well be a Big Project I've not been seeing!

 

[Tintin124]

TP had redeemed itself in one thread. Thoroughly enjoyed reading that. Nice work, Ed.

 

[Ed Sutton]

A bit more messing about for an hour yesterday. The only way I get ideas is by taking photos, so these are just possible jumping off points.

I've no idea what this one is about, or if it's got anything to do with the project!

One of the benefits of wandering round taking random photos is that you see, photograph and remember stuff that might be useful at a later date. Such a place came to mind (although I can't find the photos in my disorganised files...). What I need to do now is work out in my head the sort of pictures I want and how to take them.

 

[Musicman]

A news story that may be relevant to your topic

Roadside verges 'last refuge for wild flowers' (BBC)

 

[Ed Sutton]

Thanks. The railways, and now the road network (not to mention other 'edgelands'), have become like nature reserves in places and have aided the spread of certain species - e.g. http://www.bbc.co.uk/news/uk-wales-21123964

Once you start looking into a subject it always takes you off in different directions.

 

[Ed Sutton]

Things have sprouted again. However I just couldn't get motivated, and got bored after a handful of shots (usually I take dozens) even though I wanted a few more of the original style pictures to make up a set.

So it looks like I've run out of steam on this unless I find a different way back in to it.

 

[chris malcolm]

How about places where vehicles seldom go, such as cart tracks used by tractors and landrovers? Beaches subject to the occasional motorised cleaning? Park vegetation recovering (or succumbing) to the annual onslaught of funfairs, shopping stalls? Airport runways?

 

[Ed Sutton]

All good and relevant ideas, Chris. Thanks. However they feel to me like they're heading in a different direction, dealing with other issues than the original concept. Although there is a tie in with other pictures I've made on the theme of nature's resilience in the face of mankind's attempts to manage it. Maybe that is my big project? Or more an underlying concern.

What your comments have done is make me consider how I know when a project is done with.

The more I think about it the more I'm convincing myself that I don't need to take the original idea beyond the stage it had got to - other than making a few more pictures to create a cohesive set. What I have been lacking is a vision of how the work might exist in its final form (even if it's only a fantasy and they just end up sitting on my hard drive and as prints in a box). Sometimes a book feels like the right end point, sometimes a grid of pictures. I now think this one ought to be a set of pictures presented in a horizontal strip.

Besides, my grasshopper mind has hopped off in another direction altogether. Of course, there's always a chance it'll hop back!

 

[Ed Sutton]

It's strange what you can find in your archives.

Maybe if I could find more cars in a state this one I might be able to move this project onwards!