When starting out this project I wanted to challenge the idea of truth within photography, I wanted to explore the areas of a busy work place in order to capture the everyday runnings of a company. It was an important variable for my project that the photographs would be taken in the Arriva bus depot to show the part of the company that everyday passengers don't get to see, my reasoning for this was so that I can show a comparative difference between a bus journey and the depot itself.
When researching into the works of Mathieu Asselin and Ansel Adams it raised the question of 'how much of the truth can you tell within photography?' Throughout this project I wanted to show the emptiness of the stores, the broken down buses and any other parts of the depot that presented itself as somewhat deficient.
As the project went on I realised that it became less about telling the truth and more about how the space within the depot has been used, there are individual areas in and around the work place that withhold specific things. The inside of the depot is split into two halves, one half is where the buses park and the other belongs to the workshop; within the workshop you have the pits where the buses are fixed, a separate workshop mainly used for spraying the buses, the tyre stores, the panel stores, the actual store for parts, the trim shop, an oil base and a welding area. Around the outside you have space for colleague parking and the bus wash.
I have shown the realities of the work place conditions by producing a series of images that show the chaotic and unorganised manner in which everything is stored. With the use of 6x6 film I was able to frame and compose these tarnished and unattractive areas in a square format which helps to draw your eye into these arguably beautiful photographs; there is also the presence of leading lines and geometrical shapes throughout the images. The companies iconic colour scheme of green, blue and yellow alongside the use of natural lighting helped to make the images more vibrant and warm as well as inviting, I feel that the final photographs have turned out exactly how I imagined them to look and by seeing all 14 images together I know that they work really well as a set and that they complement one another.
If I had to improve the project I would want to visit different Arriva depots around the country and photograph the similar areas of their depots and then I could show the comparisons between all of the sites. I would also go back through the photographs that I've got and touch up any scratches that may have occurred on the negatives during processing, if I was to remove the scratches then I feel that the photographs would be exhibition worthy.
As the project went on I realised that it became less about telling the truth and more about how the space within the depot has been used, there are individual areas in and around the work place that withhold specific things. The inside of the depot is split into two halves, one half is where the buses park and the other belongs to the workshop; within the workshop you have the pits where the buses are fixed, a separate workshop mainly used for spraying the buses, the tyre stores, the panel stores, the actual store for parts, the trim shop, an oil base and a welding area. Around the outside you have space for colleague parking and the bus wash.
I have shown the realities of the work place conditions by producing a series of images that show the chaotic and unorganised manner in which everything is stored. With the use of 6x6 film I was able to frame and compose these tarnished and unattractive areas in a square format which helps to draw your eye into these arguably beautiful photographs; there is also the presence of leading lines and geometrical shapes throughout the images. The companies iconic colour scheme of green, blue and yellow alongside the use of natural lighting helped to make the images more vibrant and warm as well as inviting, I feel that the final photographs have turned out exactly how I imagined them to look and by seeing all 14 images together I know that they work really well as a set and that they complement one another.
If I had to improve the project I would want to visit different Arriva depots around the country and photograph the similar areas of their depots and then I could show the comparisons between all of the sites. I would also go back through the photographs that I've got and touch up any scratches that may have occurred on the negatives during processing, if I was to remove the scratches then I feel that the photographs would be exhibition worthy.
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