For the documentary aspect of my project, I am focusing on capturing the essence of Chislehurst through a combination of street photography, drone footage, and other documentary work. This collection highlights the town’s unique character, blending perspectives from the ground and the air. I aim to hone my skills in street photography by studying the works of influential photographers, who excel in storytelling through urban scenes. Their approaches will inform how I frame and interpret everyday life in Chislehurst. This body of work will later create a extnesive documentation of the area.
Initial Street Photography
Street photography is an important part of my project because it captures the everyday moments that show what life in Chislehurst is really like. By focusing on this style, I’ll learn to tell stories through my photos and improve how I frame and compose my shots. It also helps me show how people use the spaces around them, which adds a personal touch to the bigger aerial views from my drone work. This mix of styles will make my project feel more connected and complete. Looking at other street photographers will give me new ideas and help me create more meaningful photos.
After watching this video about NYC photography, I’ve learned how street photography has evolved to capture the changing culture, fashion, and daily life of the city. Each photographer had their own unique style, but they all focused on showing the energy of New York and how it reflects the times. I realised how important it is to pay attention to small details, like expressions or interactions, to tell a story in just one image. It also made me think about how a place’s character changes over time and how photography can freeze those moments. I want to take that idea into my own work by capturing the personality of Chislehurst in a way that feels real and timeless.
Looking at Devin Allen
Devin Allen’s photography captures images of his hometown of Baltimore. His work captures the essence of everyday life in the city, from its street scenes to its quieter moments. He brings out the authenticity of Baltimore, showing its people and places with a raw perspective.
Studying Allen’s photographs taught me the importance of capturing the rawness of a place. He finds the interesting things in the ordinary and tells compelling stories through his images.
Initially, I was drawn to the theme of hometowns and the idea of exploring the unique character of my town through photography. As I went into this theme and experimented with different techniques, my approach changed. I became more focused on capturing the ordinary life of my own hometown and to uncover them. Through my photography, I aim to show my perspective of my hometown, much like Devin Allen does with Baltimore.
In this picture the frame is filled with a building. Lines are straight and is 2D. There are repeating rectangles across the buildings. Allen took the picture flat, parallel to the buildings. Used a faster shutter as there is a lack of motion blur on the moving subject. The subject is also not centred and is on the right side of the image.
In this picture we can see a riot with a man running away from the police. In the background we can see the police, in which the tone is darker, like a cluster.
With the lone man running towards the camera, creating a sesne of motion.
Summary
Inspired by Devin Allen’s street photography, my project focused on capturing the essence of my neighbourhood by documenting everyday scenes at the barbershop, Café Nero, and various street activities. I took candid shots of people walking, sitting on benches, crossing roads, in cars, and on bikes, with some in black and white to reflect Allen’s timeless style. My aim was to highlight the vibrancy, diversity, and dynamic spirit of my town, capturing the moments that make these places and interactions special, much like Allen does with Baltimore.
Response To Devin Allen: London
For my initial street photography, I wanted to head into London to practise because the city is so full of life and diversity. London is busy and fast-paced, with loads of different people, unique scenes, and constantly changing moments to capture. It’s easier to find interesting photographs there because there’s so much happening all the time street performers, commuters, markets, and tourists all create these vibrant and dynamic scenes. In comparison, Chislehurst is much quieter and has a slower pace of life, which can make it harder to find those exciting, spontaneous moments. Starting in London helped me build my confidence and sharpen my skills in spotting and capturing compelling shots, which I can now use to bring out the hidden stories and character in Chislehurst.
A Woman sleeping on a train with an anti-tired medicine poster behind her, there’s a lot of irony that reflects the styles of both Peter Fraser and Daido Moriyama. Fraser’s focus on the ordinary finds resonance in the juxtaposition between the woman and the advertisement, inviting contemplation on the tiring style of urban life. Meanwhile, Moriyama’s sense adds depth, highlighting the authenticity of the scene. Together, the photograph captures a candid moment that speaks volumes about the complexities of living in an urban environment.
I took a picture of a boy that looks very similar to one of Moriyamas pictures. I used Moriyama’s approach to capture authenticity of everyday life, and in my picture, I’ve aimed to preserve this by maintaining the candidness and spontaneity of the moment. However, by presenting the scene in color, I’ve added a layer of vibrancy and depth that amplifies the image. The link between Moriyama’s style with Fraser’s vibrant colors creates a dynamic visual image.
Framing
Natural framing is a technique where you use elements in the environment to frame your subject, drawing the viewer’s attention to the main focus of the photo. These elements could be anything from doorways, windows, trees, or even shadows. It’s a really effective way to create depth and make your composition more interesting. Natural frames guide the viewer’s eye into the image and help highlight the subject in a creative way. For example, using the arch of a tree branch to frame a person standing beneath it adds a sense of perspective and directs focus. I want to experiment with natural framing in my street photography, especially in places like Chislehurst, where I can use things like fences or shopfronts to add structure to my photos while making the scenes feel more dynamic and intentional.
Reflections are a great way to make compositions more interesting because they add depth and a sense of creativity to a photo. They can create symmetry or distortions that make the image more eye catching and unique. Reflections in windows, puddles, or mirrors can also layer a scene, showing two perspectives in one frame. This adds complexity and makes the viewer look closer to figure out what’s happening in the image. In street photography, reflections can also create unexpected moments, like merging subjects with their surroundings. Using reflections in my own work will help me experiment with perspective and make my compositions stand out.
Using a window to frame the subject is a really effective way to compose shots because it adds a layer of depth and context to the image. The window acts as border, focusing the viewer’s attention on the subject inside while also allowing the outside world to be visible in the background. This contrast can add an interesting dynamic between the subject and their surroundings, creating a sense of separation, or even telling a story about the relationship between the two
Protest
During my time roaming the streets I came across the protests of both the Iranian and Ukranian protests. In capturing images of Ukrainian and Iranian protests I’ve highlighted the resilience and unity of the demonstrators through vibrant compositions. I wanted portrayed the raw energy and intensity of the protests in duller colour imagery, capturing the urgency and tension of the moment, which is different from the stark black and white photograph by Devin Allen.
To capture in the style of Devin Allen. I carefully chose photography techniques that reflected his raw approach. I focused on elements like composition, lighting, and editing to convey the unique vibe of the places and people I encountered.
When framing my shots, I played around with different compositions, for making even ordinary scenes look captivating. I experimented with angles and perspectives, trying to find the right balance to draw viewers into the subject of each photo.
Camera settings: as I adjusted aperture, shutter speed, and ISO to match the ever-changing light conditions. I was mainly outside and thus had a low ISO of 100 and a small aperture as it was sunny. This thus creating minimal DoF.
In editing, I chnaged colors and tones to enhance the atmosphere of my images. While most stayed vibrant to showcase the liveliness of my hometown, I also experimented with black and white edits, inspired by Allen’s timeless aesthetic, to give a sense of nostalgia and timelessness.
As my project progressed, I realised that including people in my photos would be viable. Initially focused on capturing the essence of places using buildings, I shifted to highlight the people within these spaces, much like Allen does in his work.
Despite facing challenges along the way, like working with limited time and changing my approach midway through, my photos turned out fine. In the end, my photos aimed to capture the spirit of my hometown, showing Devin Allen’s commitment to authenticity and storytelling.
I’ve created a series of images that document significant historical moments while offering profound insights into the human experience amidst political tension.
In this scene of a man protesting executions in Iran while being escorted by police officers amidst numerous protesters and flags, we can see elements reminiscent of Daido Moriyama’s approach to capturing everyday life. Moriyama often gravitates towards scenes of urban chaos and tension. The presence of multiple protesters, police officers, and flags creates a dynamic and layered composition, echoing Moriyama’s interest in capturing the complexities of the urban environment. The chaotic energy and emotional intensity of the moment are high, making viewers to contemplate interplay between power, authority and statutre in society.
Critical Reflection
From my initial street photography experiments, I learned how important it is to be patient and observant. Sometimes the best shots come when you least expect them, so it’s about being ready to capture a moment that tells a story. I also realised how powerful composition is things like framing, timing, and the use of light all play a huge role in making a photo stand out. I also became more comfortable with approaching different scenes, finding interesting angles, and using elements like reflections or natural framing to add depth.
I’ll apply this approach to my Chislehurst photographs by being more intentional with my composition, taking the time to explore the environment and look for moments that reflect the town’s character. I’ll also use the skills I’ve developed, like framing through windows or experimenting with light and shadows, to create more engaging and dynamic photos that capture the essence of Chislehurst.
Focus on Chislehurst
Now that I’ve had the chance to practise street photography in London, I’m ready to turn my camera to Chislehurst and explore my own neighbourhood. I’ll be looking for moments that capture the essence of the area whether it’s people going about their daily routines, local events, or just the little details that make Chislehurst unique. By focusing on the familiar surroundings, I can bring out the hidden stories and personal connections in a way that shows the heart of the community. I’ll apply everything I’ve learned so far, to make the most of the spaces I already know, making everyday scenes look fresh and interesting. It’ll be an opportunity to dive deeper into my local environment and find a new perspective on what’s right in front of me.
Barbershop
Inspired by Devin Allen’s approach to capturing his hometown, I focused on two places that mean a lot to me for my project: the local barbershop. The barbershop is more than just a place to get a haircut I think it’s where the community comes together. I wanted to capture the lively atmosphere, the friendly banter, and the everyday moments. Just like Allen does with Baltimore, I focused on the little details: the barber’s skills, the relaxed environment, and the vibrant conversations.
Inspired by Devin Allen’s approach to capturing his hometown, I focused on two places that mean a lot to me for my project: the local barbershop. The barbershop is more than just a place to get a haircut I think it’s where the community comes together. I wanted to capture the lively atmosphere, the friendly banter, and the everyday moments. Just like Allen does with Baltimore, I focused on the little details: the barber’s skills, the relaxed environment , and the vibrant conversations.
Walking
Inspired by Devin Allen’s street photography, I focused the other half of my project on capturing the everyday life of people in my neighbourhood. I took photos of people walking, sitting on benches, crossing the road, in cars, and on bikes, aiming to reflect the vibrant and dynamic spirit of my town.
In a couple of my photos, I captured people walking down the street, each with their own unique style of expression. These candid shots, some in black and white to match Allen’s timeless style, highlight the diversity of daily life. I also photographed people crossing the road, capturing the motion and energy of the town. These shots are full of movement, showing Allen’s talent for freezing moments in time.
Benches
Another set features people sitting on benches and tables, “lost in their thoughts”. These moments of stillness in the urban hustle are reminiscent of Allen’s ability to find profound simplicity in everyday scenes.
Transport
In another set, I focused on people in cars, showing a different perspective of the daily commute. The reflections on the windows and the varied expressions of the drivers and passengers add layers to the narrative. This is the photographs I took of my local town in one of the less busy areas. My aim was to try capture everday moments of people going about their day, along with other subjects that suit this theme as well.
Visual Analysis
A man waits in the middle of the road, his shopping bag in hand, hoping for cars to give him way. The sign above, reminds drivers to watch out for the elderly, highlighting the vulnerability of pedestrians in busy streets. The matching yellow of the man’s jacket and the island in the road creates a striking visual link, making him the focal point in the chaotic urban environment. Against the backdrop of greenish-yellow trees, there’s a sense of isolation.
These themes often explored by photographers like Allen. It’s a snapshot of everyday life that makes you pause and think about the challenges we face in navigating our urban landscapes.
In this gritty black-and-white photo, reminiscent of Allen’s style, we see a postman doing his work, peering into the back of his van. The contrast and graininess give the scene a raw, real feel, like you’re right there on the street. The postman, partly hidden in shadows, adds a sense of mystery and anonymity, just like Allen often does in his urban shots. The way the van frames his focused gaze creates a kind of tension, drawing you into the everyday hustle and bustle of city life.
Bikes
Capturing the bike all broken, seeing the wear and tear on the wheels and the frame. The bike is also not in working condition, this shows how much this bike has been used and abused to fill the needs of the people around the town
Lastly, I captured a cyclist through traffic, their speed some what having the pulse of the town. These images, especially in a vibrant edit, emphasise the contrasts and textures that define the urban landscape.
The vibrant colours and meticulous compositions have helped me convey the richness of urban life in a way that resonates with viewers. However, I realise there’s room for improvement in my ability to infuse deeper meaning into my photos. Moving forward, I aim to delve deeper into the stories behind the scenes, capturing not just the surface but also the underlying narratives that make each moment unique.
Reflection
My project is moving forward in a way that’s starting to capture the daily rhythm of Chislehurst. By photographing people hanging out in places, I’ve been able to show the town’s quiet yet connected atmosphere. These images are giving me a sense of how the community interacts with its environment, which is really important for telling the story of Chislehurst.
Next, I’m thinking about expanding my focus to more specific places and moments that reflect the history and character of the area, like local landmarks or hidden spots that are important to the community but might be overlooked. I want to capture the contrast between the calm, everyday scenes and the undercurrents of life that make Chislehurst unique. By exploring these quieter, more intimate spaces, I can continue building a rich, layered narrative about my neighbourhood.
New Objectivity and Albert Renger-Patzsch
To take my project further, I’ll look to more conceptual photographers like Albert Renger-Patzsch and Peter Fraser for inspiration. These photographers have a unique way of approaching everyday subjects and turning them into something deeper, often focusing on the details of objects or scenes that are usually overlooked. Renger-Patzsch’s clean, detailed shots of ordinary things and Fraser’s focus on the mundane yet poetic qualities of his subjects will push me to look closer at the small, often unnoticed parts of Chislehurst.
For this series of photographs, I wanted to turn my camera on my school and to find beauty in ordinary things within mundane life. To find new perspectives through a viewfinder and keep the image as raw as possible.
Looking at Albert Renger-Patzsch
Albert Renger-Patzsch was a German photographer known for his precise, detailed images of everyday objects and scenes, often focusing on things that are typically overlooked. He was part of the New Objectivity movement, which aimed to depict subjects in a clear, objective way, highlighting the beauty in the ordinary. His work often revolved around capturing the form, texture, and structure of objects, from industrial machinery to plants.
Renger-Patzsch is a great photographer to look at for my project, especially as I focus on Farringtons School. His ability to find beauty in the smallest details will inspire me to look at the architecture, objects, and spaces within the school more closely. By using his approach, I can show the unique character of Farringtons, not just through the people, but through the environment itself the walls, classrooms, and objects that make up the school’s atmosphere. His work will encourage me to think about how to present everyday school life in a fresh, artistic way, elevating the seemingly mundane into something more meaningful.
Renger-Patzsch saw the advantages of the camera as a way of seeing in its capacity to strip away the subjective interpretations that could be present in other forms of visual art. Renger-Patzsch’s approach was rooted in a belief that the camera could provide an objective and unfiltered view of reality, allowing viewers to appreciate the world in a fresh and unmediated way. In his famous book Die Welt ist schön, he aimed to convey the idea that even ordinary objects and scenes, when seen through the lens of the camera, could reveal their inherent beauty and significance, challenging viewers to appreciate the world in a new light.
What was the New Objectivity Movement?
The New Objectivity Movement, also known as Neue Sachlichkeit in German, was an artistic and cultural movement that emerged in the early 20th century, primarily in Germany. It aimed to present a clear, objective, and unembellished view of the world in response to the tumultuous and uncertain times following World War I. In art, photography, literature, and other forms of expression, proponents of this movement sought to depict reality without idealisation or romanticism. They believed in portraying everyday life, objects, and people as they were, often emphasising detail and precision. This movement had a significant influence on various art forms, including photography, Such as Albert Renger-Patzsch.
The New Objectivity movement’s focus on presenting a clear, objective, and unembellished view of the world is an interesting reference for my project because it aligns with my aim to document Chislehurst in a straightforward way. The movement instead focused on capturing subjects as they truly are without exaggeration. This approach allows for a deeper exploration of the town, highlighting the everyday scenes, architecture, and moments that define its character.
Comparisons with Peter Fraser
Peter Fraser’s choice of objects to photograph varies, but he often focuses on seemingly mundane or overlooked subjects. He finds beauty and significance in ordinary objects and scenes. Fraser’s choice of subjects reflects his interest in exploring everyday life and finding meaning in the seemingly insignificant.
Fraser uses colour in his photographs in a deliberate and specific way. He often uses rich and vibrant colours to enhance the visual impact of his images. Colour becomes a powerful tool for evoking emotions and creating an atmosphere in his work. Fraser’s use of colour adds depth and complexity to his compositions.
Takeaway Point
The New Objectivity movement (Neue Sachlichkeit) focuses on clarity, precision, and capturing reality without exaggeration. Albert Renger-Patzsch’s photography highlights structure, patterns, and fine details, showing how even ordinary objects can be visually striking when framed thoughtfully. His work inspires me to look closely at the architecture of Farringtons School, using strong compositions and sharp focus to reveal textures and geometric forms.
Peter Fraser takes a similar approach but uses vibrant colour to bring out the beauty in everyday scenes. While my project will be shot on film—likely in black and white—his work encourages me to find meaning in overlooked details and think carefully about how I frame each image.
By applying these ideas, I will photograph the school site with an honest and observational approach, avoiding unnecessary stylization. I will focus on its raw architectural elements, the play of light and shadow, and the small details that define the space. Shooting on film will enhance the timeless quality of the images, helping me capture Farringtons in a way that feels real, detailed, and visually engaging.
Finding Beauty in Farringtons
For this shoot, I set out to document the everyday environment of Farringtons through a New Objectivity-inspired lens. I focused on architectural details, textures, and subtle compositions that highlight the school’s character without artificial enhancement. By using film, I aimed to capture the raw, unfiltered qualities of these spaces, embracing the medium’s natural grain and tonal range to create a sense of depth and authenticity.
During the shoot, I paid close attention to structure and form, framing shots to emphasize clean lines, patterns, and contrasts. I was particularly drawn to how light interacts with surfaces—whether casting soft gradients on a wall or creating strong, directional shadows that add definition to an image. Inspired by Renger-Patzsch, I sought clarity and precision, ensuring that each subject was presented with sharp focus and careful composition. Fraser’s influence pushed me to consider the emotional and conceptual weight of each scene, making me think about how an empty corridor or a worn-down staircase could hold a quiet significance.
Contact Page
I’ve revealed the ordinary beauty in Farringtons through focusing on the small, everyday details that often go unnoticed. For example, I’ve captured the quiet moments on the school grounds, where the light plays, creating soft shadows and highlighting the texture of the surfaces. I’ve also photographed the symmetry in the architecture, like the patterns in the windows and foliage, By focusing on these ordinary aspects, I’ve tried to show how beauty exists in the school environment, allowing the viewer to see the school in a new way. Through this approach, I’ve aimed to highlight how the mundane, when observed closely, can reveal hidden beauty.
I’ve captured the beautiful mix of geometry and organic elements. The clean, straight lines of the fence and the round, defined shape of the tennis ball contrast with the wild texture of the grass. This combination of man-made structure and natural foliage brings attention to how both the geometric and organic can be in the same space. The way the grass surrounds the ball almost as if it’s hiding it adds a layer of depth, highlighting how ordinary moments in nature can be transformed into something visually striking.
View from a Window
What makes these interesting is the contrast between the natural and the man-made elements. The moss, with its texture, softens the rigid lines of the drainage pipes and the hard surfaces of the building. This creates a visual balance, where nature is coexisting with the architecture. The juxtaposition of these elements brings out a sense of harmony between the two, showing how nature can blend into urban spaces. The angle of the shot also adds a unique perspective, making the viewer consider these often overlooked details.
Nature
These pictures of flowers are different from the previous gallery because they focus more on the delicate beauty of nature without the added contrast of human-made objects. This shift focuses on the softer side of nature, highlighting its simplicity, without the disruption of external elements. The flowers present a more serene, contrast with the more thought provoking elements in the earlier gallery.
Evaluation
My project on Farringtons has allowed me to explore and capture the beauty of everyday life in my school and the surrounding neighbourhood. Inspired by the New Objectivity movement, I set out to document familiar spaces with a fresh perspective, focusing on overlooked details and revealing the hidden beauty within the mundane. Through this approach, I have aimed to show how ordinary scenes—such as empty corridors, architectural textures, or the way light falls on a surface—can become extraordinary when viewed with intent.
Drawing from Albert Renger-Patzsch, I concentrated on sharp details, geometry, and the relationship between organic and man-made elements. His precise, structured compositions encouraged me to focus on clarity and texture in my own work. Peter Fraser’s influence led me to think more conceptually, searching for meaning in seemingly insignificant details and capturing subtle moments that hold deeper significance. This combination of technical precision and conceptual depth helped me develop a more thoughtful approach to photography.
Throughout the project, I experimented with different techniques, including natural framing, strong compositions, and contrasts between structure and space. Shooting on film added an extra layer of depth, enhancing the tactile, organic quality of my images. The process forced me to slow down and carefully consider each frame, making every shot feel more deliberate. The grain, tonal range, and occasional imperfections of film added character, reinforcing the raw, unfiltered nature of my subject matter.
As my project progressed, I expanded my focus beyond Farringtons to include elements of Chislehurst, capturing a wider context of my environment. This shift helped me explore the relationship between my school and its surroundings, further emphasizing how ordinary places hold meaning when viewed through a different lens.
To develop the project further, I plan to experiment with aerial photography using a drone. This will allow me to explore the architectural structures of Farringtons and Chislehurst from a new perspective, capturing patterns, symmetry, and spatial relationships that are not visible from the ground. Aerial photography will add a sense of scale and abstraction, reinforcing the themes of New Objectivity by focusing on structure, form, and the visual impact of everyday environments. By incorporating this new technique, I aim to expand my photographic approach, offering a more comprehensive and dynamic representation of the spaces I am documenting.
Overall, I am pleased with how my project has evolved. It has challenged me to look closer, think more critically about composition and meaning, and experiment with different ways of documenting my world. I have gained a deeper appreciation for the everyday and developed a stronger, more intentional photographic style that balances technical precision with conceptual storytelling.
Aerial Photography
Drone photography has completely changed how I see and capture places. I will stitch images together to create a sort of 2D map. At first, I tested shots on a single building, but now I’ve expanded to my whole school in my previous project. I’ve also started mapping places I visit regularly, and connecting them. The project is about constructing a visual representation of familiar spaces in a way that feels abstract but still recognisable.
‘Nadar‘
“Nadar” Gaspard-Félix Tournachon, was a French photographer and balloonist known for taking the first ever aerial photographs in 1858 over Paris. His work was revolutionary because, at the time, photography was still a developing and capturing images from the air was something people have not tried yet. Using a hot air balloon, Nadar changed how we view the world, which eventually influenced modern aerial photography and even satellite imaging. His aerial photos laid the foundation for using photography in mapping (such as I am doing), and urban planning. In a way his work connects to drone photography today, as both involve capturing perspectives of the world from above.
https://www.newyorker.com/culture/photo-booth/origins-aerial-photography
Nadar’s Aerial Photo of Paris, (1858)
This is one of the earliest aerial photographs, taken from his balloon, which is why the perspective appears slightly tilted and less refined compared to modern aerial photography. The way the city is shown, like in layers, creates a natural depth.
Due to the limitations of early photography, the image appears grainy, but the contrast helps define different areas of the city. Labels such as “Montmartre” and “Avenue du Bois de Boulogne” suggests that he wanted to highlight specific parts of the image.
Military & Technological Advancements (WWI–WWII)
Aerial photography developed significantly during the late 19th and early 20th centuries due to advancements in aviation and the increasing need for reconnaissance, mapping, and surveillance. Initially, pioneers like Nadar experimented with aerial photography using hot air balloons, but it was the aeroplane that changed the field. The First and Second World Wars played a big role in pushing aerial photography forward, as the army recognised its potential for gathering intelligence and planning operations.
Ypres oblique bombed – 21136
Taken in 1918, this photo shows the near absolute destruction of Ypres, a crucial city in the fight for West Flanders.
One of the key figures in this development was ‘Sidney Cotton’, an Australian pilot and photographer who did aerial photography for the British military during World War II. He improved aerial reconnaissance techniques by developing high resolution cameras that could be mounted on fast, high-altitude aircraft. He also introduced concealed cameras and colour film to his work, allowing for more detailed and accurate images. His work was crucial in gathering intelligence on German military activity before and during the war.
The urgency of war meant aerial photography shifted from being experimental to practical, with rapid advancements in camera technology, film quality, and aircraft capabilities due to the need for it. After WWII, these developments carried over into normal applications such as cartography (making maps). T
William Garnett (1916–2006)
William A. Garnett was an American photographer who shot aerial landscapes, often highlighting intricate patterns in nature. After obtaining his pilot’s licence in 1949, Garnett began capturing images from his own aircraft, offering a unique perspective of the American landscape. sfomuseum.org
His work is distinguished by its abstract quality, he frequently too pictures skewing the horizon, which challenged viewers perceptions and linked back to abstractism. He took pictures of sand dunes and winding rivers, along side urban areas.
His photographs have been featured in Fortune, Life, and The New York Times Magazine, and are part of collections at institutions such as the J. Paul Getty Museum and the Museum of Modern Art in New York
https://en.wikipedia.org/wiki/William_Garnett_(photographer).
Analysis
Unlike the other two previous images, this image is structured and geometric. The repeating rectangular house foundations, with roads acting as lines.
The black-and-white tone highlights the uniformity and repetition.
This image aligns with the modernist approach to aerial photography, where the focus is on form, pattern, and human impact on the landscape.
Takeaway Point
Looking at aerial photographers like Nadar, Sidney Cotton, and William Garnett, I’ve realised how aerial perspectives completely change our understanding of landscapes, turning everyday scenes into abstract compositions. These photographers weren’t just documenting the world from above, they were changing how we see it, whether through early aerial reconnaissance, war documentation, or artistic abstraction.
One thing that stands out is how they use height to reveal patterns that aren’t visible from the ground. Garnett, in particular, transforms natural landscapes into geometric looking pictures. His work removes the horizon line, creating abstraction, while Nadar’s images were more about pioneering aerial documentation. Cotton, on the other hand used aerial photography for reconaissance, showing how the technique had practical uses.
In my own photography, I want to incorporate some of these elements by being more intentional with how I frame and stitch aerial shots. Instead of just capturing an overhead view I’ll experiment with abstraction I also like the idea of using aerial photography for storytelling, mapping out places in a way that connects locations visually rather than just geographically.
Drones
Drone photography has transformed the way we capture the world from above, making aerial photography more accessible. Unlike early pioneers like Nadar, who relied on hot air balloons, or William Garnett, who used planes. Modern photographers can now achieve precise and controlled compositions with drones. Photographers like Chase Guttman and Amos Chapple have helped push the potential of drones, capturing everything from cityscapes to low altitude shots that show small details.
Drones allow for movement in ways that past aerial photographers couldn’t achieve, such as hovering close to structures or tracking subjects in motion. Compared to early aerial photography drone imagery can feel more immersive, drawing the viewer into the landscape. In my own work, I want to experiment with these possibilities, using drones to highlight structures, roads, and natural formations.
Changing my Arial Photography Method
All my work so far has been shot on my Custom Re-Built DJI FPV.
This type of drone is an FPV (First Person View). This allows the user to watch the live video feed from a 2D VR Headset.
These drones are used for either Cinematic Videography or Racing. So far I have been successful in taking pictures of my area. However it has some drawbacks.
– Full manual control – All movements are inputed by me to the the drone, no stabilisation or computers.
– Video Only
– Flight Time
– Range
– Gimbal Limits
I have made work arounds to this by exporting frames from MOV files, going closer to areas I would like to capture to conserve flight time and range. Getting over my 70 degree gimbal limit by physically rotating my drone 90 degrees instead of the camera.
Taking Pictures
For these top-down photographs of Chislehurst, I used a drone to capture aerial views of the area. I chose to shoot around midday to take advantage of the high sun, which gives a more even, well-lit view of the town and its surroundings. The bright light helps reveal the textures of the rooftops, roads, and greenery in sharper detail, allowing me to highlight the layout and structure of Chislehurst from a unique perspective.
These aerial photographs use a top-down view to show how urban areas and natural landscapes connect. The viewpoint makes the images look like maps, allowing you to see the layout of roads, houses, and trees clearly. By capturing the scene from above, the photos highlight the relationship between human-made structures and nature.
The lighting adds depth and character, with shadows and highlights bringing out details like rooftops, roads, and trees. The warm tones of the sunlight make the images feel inviting and emphasise the contrast between the neat structure of houses and the more random patterns of nature.
These aerial photographs will be important in further progressing my project by giving me a broader, more detailed view of Chislehurst, complementing the more intimate street-level shots. By looking at the town from above, I’ll gain a deeper understanding of its layout, connections, and how different areas interact with each other. This will add depth to my project, allowing me to link the more personal, everyday moments I’ve captured on the ground with the larger, overarching structure of the town.
What went well with these pictures is that the drone allowed me to capture a unique top-down perspective of Chislehurst that I couldn’t achieve with traditional photography. The high sun at midday gave clear, bright lighting that revealed the textures of the rooftops, roads, and green spaces, which helped create a sharp, detailed view of the town. The images have a sense of depth and clarity that adds a new dimension to my project, complementing the more intimate street-level shots.
If I were to do this again, I’d consider shooting at different times of day to experiment with varying lighting conditions, such as the golden hour or during overcast skies. This could create different moods or highlight other aspects of the landscape, like shadows or softer lighting. I’d also pay more attention to the composition and framing, ensuring that elements like shops and roads are aligned in a way that tells a story. Additionally, I might try flying the drone at different altitudes to capture different levels of detail, from broader panoramic shots to closer, more focused views of specific areas. I was restricted due to legal limits, applying for a temporary airzone permit can help me achieve higher shots of Chislheurst.
From this drone project, I’ve learned a lot about the power of perspective in photography. Capturing Chislehurst from above has shown me how a different viewpoint can reveal new details and offer a broader understanding of a place. The aerial shots provided a fresh take on familiar locations, highlighting patterns in the landscape, such as the layout of roads and the contrast between green spaces and built-up areas.
I’ve also learned how lighting affects the overall mood of an image, with midday sunlight offering sharp details, but other times of the day could create softer, more atmospheric shots. Experimenting with the drone has taught me the importance of planning and framing, especially with the added challenge of working in a new medium. This project has helped me connect the individual moments I’ve captured on the ground with a wider, more comprehensive view of Chislehurst, reinforcing the idea that photography can reveal hidden beauty in both small, intimate scenes and large, expansive landscapes.
New Drone
However I could make this process a lot simpler by using a drone that is made for long range arial photography. This is why I have asked the school for use of their DJI Mini 3. This drone will allow me to take photos at 90 degrees and has a longer flight time, so I can be out longer to capture everything I need.
New Drone Gallery of Chislehurst
At the beginning of this project, I used an FPV drone to capture the images. Since FPV drones are designed for speed and movement rather than still photography, I would record video dives over buildings and landscapes, then take screenshots from the footage. The image quality often suffered sometimes blurry, noisy, or lacked the sharpness I needed for clean stitching. It also meant I couldn’t fully control the composition or lighting, which limited my ability to frame shots in a deliberate way.
More recently, I started using a new drone with a gimbal that can shoot straight down at 90 degrees, which completely changed the quality and feel of my work. With this upgrade, I was able to take clear, detailed aerial photos directly, with better lighting control and symmetry. The downward-facing images are more suitable for creating a flat, stitched map of Chislehurst something that wasn’t fully achievable with the FPV method.
This shift in technique shows how my drone photography has developed, both in terms of technical understanding and artistic control. I learned from my early limitations and adapted by using better tools to match my project’s aims.
Visual Analysis
In this image, there is a strong repetition of shape and layout rows of rectangular rooftops form a rhythmic pattern that’s broken up by patches of gardens and trees. The top-down viewpoint flattens the scene, making it feel like a blueprint, which contrasts with the 3D feeling of Nishino’s work.
The lighting is soft and natural, taken earlier in the day to avoid harsh shadows. This helps bring out the roads and rooftops.
This portion of my gallery showcases the new drone shots of Chislehurst, capturing a range of perspectives that highlight the area’s unique structure and layout. The images turned out exceptionally well, allowing me to document both low and high-altitude views that reveal different aspects of the town.
For the lower shots, I focused on shops and churches, ensuring that their architectural details and positioning within the town were well represented. These images provide a more grounded perspective, showing the character and atmosphere of the streets at eye level. Meanwhile, the higher, top-down shots give a broader overview of the town’s layout, illustrating how the roads, buildings, and open spaces interconnect. The geometric nature of the roads is particularly striking in these aerial images, resembling the structured compositions seen in the work of William Garnett.
By capturing these contrasting perspectives, I’ve been able to create a more comprehensive visual representation of Chislehurst, combining the intimate details of individual buildings with the expansive patterns formed by the town’s infrastructure.