For this exercise I have looked at three completely separate images, each from a different source and produced for a very different purpose
The first is from a holiday advert in a magazine.
Although this exercise is referring to the use of the landscape to get across a viewpoint, in this case it is more the people in the image that make the intended point. As expected the image is intended to suggest a relaxing holiday but the implication is that it is specifically intended to middle/upper class conservative voters (who else would wear those pink shorts?). The location itself looks like the people have just come along five minutes ago, and the whole image looks very staged. But that is also part of the idea being sold; it says these people are only here temporarily and it could be you here next month instead. The spacing out of the family members reinforces the idea that “this is all yours and no-one else’s”, and the small hedge and step at the near, bottom of the image acts as like a barrier to emphasise that this is a private affair that could be yours as well
Secondly I have chosen a photograph taken from Sirkka-Liisa Konttinen’s project “Byker”
The artist was a founder member of the Amber collective, which were explicit in their aims of documenting working-class life in the North-East. The project was a celebration of and memorial to a community that was disappearing due to urban redevelopment. The image looks directly down a street containing many identical looking terraced houses. The street leads directly away from the viewer until it bends away out of sight. In the far distance are several more streets of terraced housing. The image, taken in the early 1970s, is in black and white which at the time was still an indicator of serious art rather than cheap commerce. The image is largely free of people, but a single figure walking down the street away from the camera towards the houses in the distance is suggestive of leading us, the viewers, into the location, but at the same time suggests leaving and loss. Focussing on the near-identical house in the street reinforces the idea of working -class solidarity.
Third is a photograph of Turf Moor in Burnley, taken from ‘When Saturday Comes’, taken by Colin McPherson.
The image shows the football ground in the background, behind a row of terraced housing. The modest houses are a reminder of football’s working class roots but the modern construction of the grandstand is out of place with the surroundings. The stand is much bigger than nearby buildings. The relative scale and the obvious difference in construction materials is indicative of how money in football – particularly in the Premier League – has changed the relationship between clubs and their hometowns significantly in the last 25 years or so. Although the image is taken from a Burnley match report, it illustrates the changing relationship between most top level English clubs and their locations.