Category Archives: ASSIGNMENT 3

EYV Assignment 3 ‘The Decisive Moment’ Re-work reflection

I had decided to re-work the decisive moment assignment because my tutor felt that it was difficult to see my link to the brief in all but possibly two of my images.

On reflection, I agreed that my images could not stand alone as decisive moment images and even with the text to encourage a particular interpretation, the rationale for choosing my selects was not clear enough.

There was quite a lot that I was pleased with in my first submission, particularly the development of my thought processes leading to my final submission and the development of my creativity. The presentation in a photo book was also, I felt, a success.

For my re-work, I decided to attempt a more traditional street photography approach. You can see my re-worked images in my post:

I was relieved that my tutor felt I had made a good reflection on my initial submission, and particularly pleased that he felt two of my re-worked images were ‘fantastic’ – he liked the wit and the contemporary feel. Here they are:


I have to admit that these are not the type of images I would normally consider, and it is interesting that it is these, which are out of my comfort zone, that earn the highest praise. Clearly, this is a lesson well learned, and significant encouragement for me to try things that I would normally avoid.

My tutor suggested that it would be useful for me to find a writer to further help me critique the decisive moment in terms of understanding both sides of the argument. I intend to re-look at Ghazzal, and to look at some ‘other indecisive sources such as the Jim Jarmusch and Wong Kar Wai films’. My tutor also suggested I look at Berger’s Ways of Seeing. I was pleased that my tutor felt that I had made progress in terms of my development.

Please see my post John Berger – Ways of Seeing


EYV Assignment 3 ‘The Decisive Moment’ Re-worked

I decided that I would like to try to improve my initial submission of Assignment 3 since my tutor felt that I had not fully addressed the brief.

In my post: The Decisive Moment – Where I Stand , although I showed an admiration for the work of Henri Cartier-Bresson, I expressed the view that I agreed with Zouhair Ghazzal in finding some decisive moment images a bit clichéd and comic. I have also, in this blog, commented on my reluctance to take photographs of people without their consent.

However, I decided to try to address my reluctance with the comic and with street photography in general and try to present a response to this brief that was out of my comfort zone and in direct contrast with my original response, embracing the decisive moment tradition within street photography.

My images were taken in Barnsley town centre and I use the location as the theme to give cohesion to my set of images. I have used images taken indoors and alternated them with outdoor images for variety and to give a broader view of the town.


Image 1

Many people seemed to stop to watch the TV screen in this shop window. In this image, the screen cartoon character and the viewer, appear to be looking at each other, perhaps smiling at each other, creating an opportunity for a comic decisive moment.


Image 2

Here, I felt that the composition worked because the vertical lines of the black lamp-post and the black figure give balance and contrast to the picture, with the mirroring of the windows and reflections, and the second lamp-post adding further to the symmetry. The leading lines created by the buildings and path, and by the two lamp-posts,  take the eye to the small figure situated centrally at the ‘back’ of the image. This figure acts as a mirror to the main subject, and perhaps we wonder where they are going.


Image 3

This image reminded me Wazari Wazir’s image of  The King of Malaysia and Sultan of Selangor , that I came across while researching the decisive moment. In Wazir’s image, his two subjects are simultaneously raising their hands to create a mirroring effect. I liked how, in my image, the two women are mirroring each other and the viewer is drawn to the almost identical pony-tails. Also, the central figure in the background is himself symmetrical having both hands on his hips. Wazir says, of his decisive moment image:

‘Personally I think it is a photograph taken at its peak moment or when the moment is at its best. Let say if I just take this photograph of The King and The Sultan of Selangor walking towards the stair without that hands gestures, it is still a moment but not at it’s best and I personally think that when they show a hand gesture like what you have seen here make it the best moment and personally I think this is a “decisive moment”. (Wazir 2011)

Image 4

I felt that this image worked as a decisive moment image because of the symmetry and mirroring within the composition. The straight lines of the buildings to the left and right direct the gaze towards the two central figures positioned at the meeting of sky and water, just within the gaps created by the street fixtures, and walking towards each other. The squares of the pavement at the front of the image reflect the squares of the building at the back and the reflection of the sky in the wet path forms a horizontal mirroring.

Cartier-Bresson said: ‘We often hear of camera angles .. but the only legitimate angles that exist are those of the geometry of the composition’. (Suler)

Image 5

Here, my attention was drawn firstly to the humour in that the blue baby figure appears to be part of the queue to the pay station. However, I think this image works as a decisive moment because of the mirroring of the figure’s face with the face of the man on the left, and the balance and symmetry of the man with the woman on the right, both walking away and out of the picture, both looking downwards, intent and determination on their faces. The blue baby seems to be looking on and watching the man as he walks away.

Technical approach.

I set my camera to shutter priority and selected a shutter speed fast enough to allow me to hand hold my camera so that I could respond to situations quickly and I used a focal length of between 24(16)mm and 45(30)mm. I lightened some of my images post capture, added a bit of sharpening, straightened where necessary, and adjusted the white balance to better reflect the scene as I saw it. I used continuous drive. I don’t like the term ‘spray and pray’ but continuous shooting allowed me to choose the best image of a number of similar images captured at short intervals.

What worked well

I am pleased that I re-worked this assignment. Although my previous attempt took many hours of planning and thought, and I was initially disappointed that after so much effort, my work hadn’t fully addressed the brief (the course notes do warn about this!),  I am grateful for the learning and the opportunity to try again. I hope my images show my willingness to step outside my comfort zone with street photography (I felt a particular sense of achievement with the indoor images since I was close to my subjects and conspicuous) and an understanding of composition, geometry and gestures within decisive moment photography.

What could be improved

Of course my images could be improved. It would have been great if, in image 1, for example, my cartoon character could have been pointing at his viewer perhaps. My human subjects in images 2 and 4, although they are in the ‘right place at the right time’ do not show ‘movement and gestures’, but I hope they show an awareness of composition in decisive moment photography and the consideration of geometry in the use of lines and symmetry. My choice to use both indoor and outdoor images may make more sense to me than to the viewer and I am concerned therefore that the set could look a bit random and be less cohesive than I hoped.

Bresson’s images are mono rather than colour and I considered whether ‘black and white’ may have emphasised the composition of my outdoor images. I de-saturated my pictures and, while I think the bottom one of these two images works quite well, I think the use of colour in the first one actually gives more interest and clarity.


eyv-assignment-3-re-worked-2_edited-1-mono eyv-assignment-3-re-worked-3_edited-1-mono


Below is an image that I liked and considered but ultimately rejected:

This image may have been a better choice. However, I rejected it because of a natural avoidance of taking pictures of people, and because the pony-tails don’t work quite so well. Keen to challenge myself, I show this image here since the inclusion of the subjects’ faces side-on adds something to the image in terms of symmetry. There is also more of a story, or ‘suspense’ since we can only speculate as to what has caught the attention of the woman on the right and who the woman in red is talking to. The deliberation of the man over his choice of battery further enhances the moment.


Overall, I am pleased with this second attempt at the decisive moment assignment. I intend to continue to observe potential decisive moment opportunities and to practice further.


Suler J. The Psychology of the Decisive Moment At:  (Accessed 25 December 2016)

EYV Assignment 3 ‘The Decisive Moment’ Tutor Feedback and Reflection

My tutor suggested that I give more thought to my selection of photographs for this assignment since he felt that only two of them referred to the decisive moment.

He also asked me ‘are you sure tourist selfies are the decisive moment?’ Here he is referring to part of my initial thought process when I considered selfie-takers as creating their own decisive moment, not to the images I used for the assignment proper. See my post: EYV Assignment 3 First Thoughts for more about this.

In response to this comment first, then no, I don’t consider photographs of selfie-takers as photographic decisive moments, although I expect that a particular incident involving a selfie-taker could constitute a decisive moment image. I wanted only to record my thought process as I tried to decide how I would eventually approach the assignment. My tutor reminded me that ‘the decisive moment is a visual climax, not a story but a picture’. My actual assignment was an attempt to capture decisive moments within landscape and I can see that by linking my images to quotations from my favourite novels, I perhaps have tried instead to tell, or recall a story. In hindsight, this approach was made in an attempt to fulfil the brief of coherence, which I expressed using a literature theme. In terms of the decisive moment within each image, I relied on two things: first, something ‘decisive’ about the scene in terms of weather, for example, the mist over the hills that would be fleeting and changeable. Second, how I felt the scene linked to either a literary decisive moment or how it captured a specific mind-eye view I held about particular novels.

In terms of being more explicit about why I put my photographs with the particular quotations, and in consideration of my tutor’s comment that my selection was based on ‘personal favourites’ rather than any specific criteria related to the decisive moment, I am not sure I can construct anything of a reasonable argument otherwise. He is, of course, perfectly right. Some of my links were quite tenuous and I actually find it quite hard to be explicit about what I intended through this assignment, which is interesting since it has taken my tutor’s feedback to make me fully aware of this fact.

However, I will reflect here on what I did and why it failed to fully meet the criteria of the decisive moment and acknowledge that this is something that I will take away and learn from for future projects.

First, on reflection, I am pleased that I actually completed this assignment since I initially found the brief quite daunting. I spent many hours thinking about how I could approach it and trying to understand the theory around the decisive moment while also trying to make my response personal.

I got carried away with, not only the ‘official definition’ of the decisive moment but with what the decisive moment meant to me. In doing so, I feel that I certainly expanded my comfort zone and my creativity but I failed to adequately respond to the brief. However, I was pleased that my tutor liked the presentation of my work in a ‘photobook’ since I feel that it worked quite well for my project, and the process encouraged me to be more imaginative and creative.

I found Ghazzal’s critique ‘the indecisiveness of the decisive moment’ quite difficult, and my tutor commented that I should perhaps return to this to see if I can understand his point more deeply. Please see my re-working of this exercise at the link below.

My tutor also commented that it was good that I followed up issues from his feedback on assignment 2. I find it very helpful to my learning to re-consider particular points and even though I am generally keen to get on to the next part of the course, I prefer to consolidate my learning before moving on.

The main learning from this assignment and feedback is the importance of being clear about what exactly I am trying to say through my photographs, and I feel that I have been guilty in part, of making my images ‘fit’. This learning seems quite pivotal (my own decisive moment?) and I hope that in future projects I can be clearer about my intended message.

In the ‘context’ part of my feedback, my tutor sent me some bedtime reading! ‘Rhetoric of the Image’ by Roland Barthes.  I have considered this in a separate post (see link below)

He also suggested I look at the work of Melanie Friend as an example of the use of text as anchorage. Please see the link to a separate post, below.

He advised that texts traditionally caption images, and are used in journalism and documentary. In contemporary art, texts and images are ‘put together in unexpected ways to reveal something new about each’. I was reminded firstly of Sharon Boothroyd’s use of text linked to her images in her exhibition and I looked again at my earlier post: They all say please

On viewing Boothroyd’s images, I initially constructed a meaning and I can see that this was based on my life and experiences, and then, I looked at the texts. It is interesting that the texts created different meanings of the images and made me look at them in a different way. I commented that there must be as many interpretations of an image as there are viewers of it. However, the text encourages a specific interpretation of the photograph.

Following my consideration of Melanie Friend, I was reminded also of Les Monaghan’s work The Desire Project  in which he presented images of ‘ordinary’ people, captioned by their response to his questions about their dreams. In terms of my own assignment 3 images, which used text to provide a linking theme and context, I can see that my texts also ‘direct’ the viewer to interpret the image. Less obvious in a landscape, yes, but important to my work as a signifier for the viewer, suggesting a particular way of looking at the images.

In view of my failure to fulfil the decisive moment brief in all but (a possible) two of my images, I spent some time in going over what exactly is meant by the decisive moment. I came across a site (Suler, see below)  that really helped to clarify things for me. I particularly found the analysis of Cartier-Bresson’s image Behind Gare St Lazare (1932)    very useful. I intend to consider this further in my hard-copy log, but I was particularly interested in the two very different responses to the picture: first, a quick response – ‘a man jumping over a puddle, it looks depressing’, and second: a very full and thought provoking description of the endless possibilities that can be read into the image. I struggle here to separate the decisive moment from story telling however. My tutor explained that the decisive moment is a visual climax, and I can see how Bresson’s image is exactly that, but it also seems to tell or suggest a story. Suler’s second example, the image of the couple embracing is regarded as a successful decisive moment because of it’s implied narrative – why isn’t he holding her with both arms etc?

This assignment and my tutor’s feedback has given me much to think about and will continue to do so as I progress through the course.


Please see my posts:

Melanie Friend

Research Point – Zouhar Ghazall – revisited

Roland Barthes – Rhetoric of the image


Friend M (2001) No Place Like Home. Photographs. At:  (Accessed 23 December 2016)

Suler J. The Psychology of the Decisive Moment At: (Accessed 25 December 2016)

Post Script:

Having had time to think about my work and my tutor’s comments, I decided that I wanted to attempt this assignment again. Please see my post:  EYV Assignment 3 Re-worked


EYV Assignment 3 ‘The Decisive Moment’ Initial Thoughts

My initial thought was to attempt to capture traditional decisive moment images through street photography. I considered going to York where, among many tourists, I would be less visible.

I liked my image below, taken using continuous drive to capture a cyclist at just the right moment and I considered taking similar images for Assignment 3. However, I was acutely aware that without Bresson’s instinct and skill,  I was likely to spend many hours achieving relatively little.


Image taken prior to starting this course

Also, I had other ideas that I wanted to try, and so my thoughts turned to subverting the idea of the Decisive Moment.

Zouhair Ghazzal suggests that the decisive moment has become something of a cliche, an overused tradition comprising humorous or interesting moments (course notes p 70; see also my post: Research point-Zouhair Ghazzal ) I feel that in contemporary decisive moment photography there can be a reliance on comedy, and I wanted to avoid going down that route.

For example, I saw a woman with a dog, both facing away from me. The dog’s tail was in the air and he had a round bottom. The woman bent down to check his collar, putting her very round bottom just in the right position. I noticed the opportunity but did not take advantage of it. First, although it might have been funny, it’s not the type of thing I like; second, I felt it would have been disrespectful. Decisive? Probably.

I began to think about the wider meaning of the ‘Decisive Moment’. On a trip to the Lakes, I saw tourists taking selfies in traditional beauty spots and I realised that these images, finding their way into family photograph albums, were an individual’s own ‘decisive moment’ – that moment that they feel captures the essence of their holiday, whether that is standing amid the swans at Windermere or with the lake in the background as proof that they were there.

I started taking photographs of people taking selfies. In doing so, I allowed my subject to choose the decisive moment. I wondered if and how I could incorporate this into my assignment as a challenge to the photographer as decisive moment decision-maker.

I looked again at Martin Parr. His exhibition at The Hepworth (see my post  Martin Parr ) examined the idea of what is traditionally seen as being worthy of being photographed . I felt that my idea of letting the subject choose the decisive moment furthered the debate. Parr’s image  (no 10), of people having selfies taken at the leaning tower of Pisa was also of interest to me.

In observing my selfie-takers, I found that creating interesting images was not an easy task. One positive, I found that despite my fears of being intrusive, these people were sufficiently engrossed as to render me completely invisible. I wondered about this and felt that I somehow wanted to remove the people from their chosen spots, and reposition them somewhere that more resembled my idea of the Lakes.

Since much of my view of the Lakes was from the passenger seat of our van as my husband negotiated his way round the narrow roads, I began to see the scenery as something of a blur as it whizzed past my window. I felt that this was my true picture of the Lakes, perhaps even a decisive moment, since my images, taken with my camera resting on the half open window, with a slow shutter, as we travelled, could never be repeated. I really liked the abstract effect of some of these images. See my post  Exercise 3.2 The trace of movement

I decided I would like to try to merge my images with those of my selfie-takers, to create a new (un)decisive moment, that challenged the convention by superimposing one decisive moment on top of another.

I included some of these attempts in my sketch  book:


However, I realised that I didn’t yet have the technical skill to make this work and therefore rejected the idea for this assignment.

I was, however, not ready to let go of the idea completely and, inspired by Rob Bloomfield’s image (course notes p38), I felt that I might be able to use double exposure to get across my ‘double-challenge’ message that questions both the role of the photographer and the subject in choosing the decisive moment. Perhaps tenuous but for some reason I felt I wanted to see it through.

My camera does not have the function as standard so I made numerous attempts to download a double exposure application. To cut a very long story short, I eventually succeeded and took a few images as practice shots. You can see the results here.

Despite much time and effort, I decided against this as a realistic option for my assignment since, again, I felt I lacked the experience and skill to make it work.

Inspired by my consideration of Lake District views, I was interested in the idea that landscape can have a decisive moment. I considered what would make a decisive landscape moment. I looked at landscape images, collected some in my sketch book, and tried to consciously notice when the landscape in real life caught my attention. I went for a ‘photo drive’ in my local area and I found that the light emphasising a particular field, or building or flower, created, for me, a decisive moment in that the moment  was fleeting, soon to disappear, but had made me look twice. For example the orange of berries against a beautiful blue sky (opposites on the colour wheel and therefore harmonious) created a decisive moment image for me.

I found a definition of the decisive moment in landscape photography:

‘Landscape photography is as much about the decisive moment as is street photography. You can take a good photograph if you have an interesting subject, and you can take a good photograph if you capture the right moment. However, to take a great photograph, you need to capture an interesting subject at the right moment.’ (2016

I decided that I wanted to try to capture natural landscapes for my assignment, but I wanted also to personalise my images,  giving my work a theme.

My background is in Literature and I began to consider what the decisive moment means in literature. Usually referred to as the turning point, the decisive moment in literature is that moment that is pivotal in the story, sometimes a fraction of time that forever changes the course of events. I considered that my literary decisive moment could also be that moment where a landscape encapsulates the significant theme of a novel, or a well known quote or image within the novel.

Inspired by Francesca Woodman’s image and my interpretation of it as  depicting the short story: The Yellow Wallpaper, I considered how I might combine my love of literature, and therefore something of my personality, with my photographs.

I decided to combine a decisive photography moment with a decisive literature moment and so collected landscape images that represented some of my favourite novels. I photographed subjects that caught my eye because of how the  light fell or the colours were exaggerated, or because of a feeling or mood that I saw in the landscape and I presented them in a photo-book where I could show the image and the appropriate text from my novels, side by side.


Please also see my Written analysis my Self analysis and my Assignment 3 images

See my post about Francesca Woodman here.

I made a contact sheet of my images of selfie-takers to give you an idea of what I considered. They were not usable in the end but I enjoyed the learning and the process..


Photographylife (2016) The Decisive Moment in Landscape Photography. At:  (Accessed 31.10.16)

EYV Assignment 3 ‘The Decisive Moment’ Written Analysis


I found this a difficult concept but I enjoyed the thinking process and the debate.  I had a number of ideas for this assignment and have documented them in more detail in my post: EYV Assignment 3 ‘The Decisive Moment’ First Thoughts  which demonstrates a significant leap for me in terms of creativity, experiment and imagination.

Briefly however: I initially considered street photography but rejected this idea because of my concern about my spending a lot of time unproductively, and my fear of disrespectful images. I then considered challenging the genre by experimenting with long exposures and double exposure to capture movement rather than a fragment of time.

I eventually decided on a consideration of the decisive moment in landscape. I felt that the decisive moment in landscape came from the light on a particular subject drawing attention to it, or exaggerating the colour or shapes of an object. I felt it was that moment that made you look twice at things that otherwise might seem ordinary.

Finally, inspired by Francesca Woodman, I decided that I wanted to include literary decisive moments into my project to establish a theme and a particular interpretation of the brief.

Which practitioners you looked at for inspiration and how their work influenced you during your project

I had looked at Eadweard Muybridge whose work on isolating movement in people and animals encouraged me to consider capturing fragments of time, but I was initially inspired to begin this assignment by Henri Cartier Bresson. I enjoyed looking at Bresson’s images and appreciated his capturing of human movement to create pictures of that perfect fleeting moment.

I also considered the idea of capturing the trace of movement. My inspiration for considering the trace of movement came from a number of photographers discussed in the course notes, including Hiroshi Sugimoto who used very long exposures to record the passage of time.

Ultimately, however, I was most inspired by the work of Francesca Woodman. I was very much inspired by Woodman’s subject matter, based initially on a strong empathy and connection with her image below, which was something of a turning point for me.


Image by Francesca Woodman

This image was my inspiration for presenting my work in terms of both photographic and literary decisive moments. I am aware that much of Woodman’s work used a slow shutter whereas my images capture a specific moment in time. However, I am particularly interested in women’s literature and I found Woodman’s work especially interesting. I was attracted also by the apparent similarities in the lives of Woodman and a favourite author, Virginia Woolf: both exceptionally gifted, both committed suicide at a relatively young age.

Your technical approach and any particular techniques you incorporated

My focus in terms of technique was in using a fast enough shutter to avoid blur caused by wind or other movement including camera shake where my camera was hand held. I wanted to capture images that represented specific and unique moments in time. For my ‘waves’ image, I used continuous drive to allow me to select the most appropriate image from a series taken in quick succession. I had some difficulty with photographing in low light with a fast shutter and I increased the exposure of some of my images using Photoshop. I used a variety of focal lengths from 16mm (waves image) to 55mm (woods), and set my camera to shutter priority. I decided to submit my images in a photo book so that I could include the literary quotes they inspired, to give context and meaning to my work.

How each image relates to the decisive moment.

Image 1 ‘The Waves’

I see a decisive moment in how the wave in the centre is captured at that moment that is begins to roll and gather force. The novel is very much about the cycles of nature, birth and death as represented by the tides.

Image 2 ‘Lady Chatterley’.

This image’s decisive moment is in its mood – a bit sinister. Lady Chatterley would certainly have felt watched as she made her way to the gamekeepers cottage. I felt that the light and fog created a unique setting that perfectly captured the feeling of the story.

Image 3 ‘The Colour Purple’

When all colour except for the oranges of autumn leaves seemed to have disappeared, I was attracted by the way the light created shadows that highlighted the purple. Colour, particularly purple, is a very significant theme in this novel.

Image 4 ‘ Jane Eyre’

The image captures a decisive moment in the mood created by the weather. It perfectly captures my mind-eye image of Jane lost in the wilderness.

Image 5 ‘Perusasion’

This scene caught my eye because of the dense colour created by the heavy carpet of leaves enhanced by the light shining through the trees. Autumn is a significant theme in this novel.

Image 6 ‘Sunset Song’

I was amazed at how the colour and intensity of this sunset changed so quickly before my eyes. This was literally a fleeting moment. As soon as I had taken this image, the scene disappeared. Sunsets always remind me of endings; a significant theme in this story.

Image 7 ‘Mrs Dalloway’

My attention was drawn to the light reflection on the water, it created a peaceful view that held me transfixed. I felt that this image captured the calm mood of Mrs Dalloway as she sat sewing, and dreaming of the waves on a summer day.

List of illustrations

Image 1

Woodman, F. Photograph. At: link. (Accessed 23 November 2016)

Please see my posts

Eadweard Muybridge

Hiroshi Sugimoto

Fancesca Woodman

Research Point Cartier Bresson ‘Lamour de Court’

The Decisive Moment – where I stand


EYV Assignment 3 ‘The Decisive Moment’ Self Analysis

Technical and visual skills

Part 3 of this course, has helped to improve my visual skills. I have became more consciously aware of ‘looking’. I realised, while considering my ‘selfie takers’ in the Lake District, that I was looking at the world as if it existed only to be photographed. This assignment encouraged me to notice how the light changes and how it affects the colours and shapes of a subject.  The focus on shutter priority has improved my understanding and use of my camera.  Further, I have attempted to use photoshop to merge two images, and my camera app to use double exposure techniques. Whilst I decided in the end not to pursue these techniques for this assignment, the learning was invaluable.

I have taken my tutor’s advice about taking images over a period of several shoots. This assignment took me to various places and it would not have been possible to take them all in one shoot. I relied also on taking advantage of days with good light. I feel that taking my time has encouraged reflection and has influenced the outcome. That said, I feel that I still need to stop and think more about each image. I am looking forward to the next part of the course and practicing ‘working into’ my images more.

Quality of outcome

I tried to select a range of viewpoints and focal lengths. I considered the order in which I wanted to present my images and decided to ‘frame’ my sequence with my ‘sea’ images and then arrange the others in a symmetrical pattern that alternated the viewpoint.  I also experimented in using a photo-book to present my assignment so that I could include text.

The result is a set of photographs that makes sense because of its strong theme. I am pleased also that the final selection is the result of a thorough and clearly demonstrated intention and application of learning that reflects my development on this part of the course. I am happy also that I have communicated my ideas clearly, and have successfully incorporated my personal interests into the project.

I am disappointed with some of my images and I feel that I am guilty of forgetting some of the learning I did on the earlier parts of the course in terms of composition and the use of lines to give depth. The ‘Colour Purple’ image is uninspiring and I confess to ‘making do’ because it furthered my theme, and opportunities to photograph purple in nature at this time of year were limited. I think this particular image would have been better if I had taken a wider view to show the colour as a smaller part of the whole image, therefore emphasising it as special. I have failed also, with the exception of ‘waves’ to use lines and depth to create interesting images. My favourite image, however, is the ‘Lady Chatterley’ woodland scene. This, I think has atmosphere and feeling.

I like the idea of using a photo-book though I confess to being a bit disappointed initially since it was considerable smaller, at A5, than I had expected. However, I think the quality is nice and it acts as a supplement to the A4 prints that I have also submitted.

I feel that if the brief were just to submit images (ie without supporting text) then my assignment would be considerably less successful. I am mindful of my tutor’s feedback from my ‘Square Mile’ that images should be able to stand alone. I am again guilty of relying on the written word even though I may be able to justify it because of the specific literary link. However, with the text, I feel that I have produced a coherent set of decisive moment images with a theme that shows my understanding of the genre.

Demonstration of creativity

I have certainly experimented, in fact, in my initial work for this assignment, I went to considerable lengths and through a steep learning curve specifically to experiment. I tried layer masks in photoshop and double exposure via my camera application, experimenting with combining two images into one. My preliminary work for this assignment involved shooting images from our vehicle window, and my final choice has involved merging my photography and literary interests, something that I imagined I may be able to do in the future if not quite so soon.

This assignment has pushed me considerably in terms of creativity and I found that my initial thoughts led to others, and despite the fact that my first ideas did not culminate in related images, I can feel a sense of development of creative ideas. I can also feel a sense of wanting to incorporate my voice – to take images that mean something to me, to combine my love of literature with my love of photography.

I realise that my combining literature and photography is not new but, it is new to me, and I am quite pleased that I am beginning to want to express something rather than just take a photograph. Cartier Bresson said that images should say something, and perhaps this is the start of my saying something with my photography.


My tutor advised that I should thoroughly research before doing this assignment. I feel that I have taken on board the work of a number of artists and have reflected on their contribution and engaged with their ideas. I have considered the decisive moment debate and incorporated my views into my assignment.

How the project may be developed in the future

I should probably like to attempt this exercise again using a traditional decisive moment approach to further my experience in capturing fragments of time involving the movement and gestures of people. I am aware that, contrary to Bresson’s approach, I have, in focussing on landscape, avoided photographing people. This is an area that I should like to develop.

I feel I am again guilty of rushing. In a perfect world, I would have more time to consider my images, and I look forward to being able to do that. Some of these images, the sunset for example, would have been impossible had I stopped to set up my tripod, and I therefore relied on editing in Photoshop.

I thought I would check my learning against  the points I took from Bresson’s ‘Lamour’ films : I feel that I have succeeded in increasing my awareness of ‘looking’ in that I am consciously aware of looking at the world differently; I have incorporated my personal experiences; taken from and respected the work of others, and have begun to show a sense of ‘saying something’. In terms of showing empathy, my choice to consider landscape rather than people gave me no real opportunity to consider this, but overall I am pleased with what I achieved.



EYV Assignment 3 ‘The Decisive Moment’ Images

The Decisive Moment – Images


…innumerable waves spread beneath us… Everything falls in a tremendous shower, dissolving me.

The Waves, Virginia Woolf


From the old wood came an ancient melancholy, somehow soothing to her, better than the harsh insentience of the outer world.

Lady Chatterley’s Lover, D H Lawrence


It pisses God off if you walk by the colour purple in a field somewhere and don’t notice it

The Colour Purple, Alice Walker 


My glazed eye wandered over the dim and misty landscape … I had some fear – or hope- that here I should die

Jane Eyre, Charlotte Bronte


Her pleasure in the walk must arise from…the view of the last smiles of the year upon the tawny leaves and withered hedges…

Persuasion, Jane Austen


So silent the world with the sun just peeking above the horizon..

Sunset Song, Lewis Grassic Gibbon


Fear no more, says the heart, committing its burden to some sea

Mrs Dalloway, VirginiaWoolf


Austen, J (1993) Persuasion, Wordsworth Editions, Hertfordshire p59

Bronte, C ( 1971)(Dunn, R. Ed) Jane Eyre, Norton, London p283

Gibbon, L (2003) Sunset Song, Canongate Classic, Edinburgh

Lawrence, D H (1993) Lady Chatterley’s Lover, Penguin, London p68

Walker, A (1983) The Colour Purple, The Women’s Press, London

Woolf, V. (1996) Mrs Dalloway, Penguin, London p 45

Woolf, V (2000) The Waves, Wordsworth Editions, Hertfordshire