N Hampshire Photography 1 People and Place: September 2014

Introduction

For this assignment I looked at six buildings and produced four images that describe effectively and attractively the way in which the spaces are used. I researched the building, developed an understanding of how and why the building was designed in this way and formed an opinion on how effective the building is as a usable space. I documented my photographic challenges.

Choice

The Collins Online Dictionary describes a building as “something built with a roof and walls such as a house or a factory.” I compiled a list of potential buildings to look at. Initially my list included industrial heritage, religious buildings, railway stations, art galleries, orangeries, factories, craft shops, garden centres, aircraft hangars and visitor centres as potential subjects. I researched the photographer’s rights of taking images of or in buildings. I ruled out privately owned buildings, although I considered my local garden nursery. Where I was unsure of a policy, I rang the establishment to check if I would be permitted to take photographs.

I narrowed my choice down to the East Midlands for ease of returning to reshoot if necessary. I considered developing a concept such as the use of buildings through stages of life or using small and interesting buildings, but dismissed the latter after re-reading the assignment because I thought size was too limiting. So I set out discover to 6 buildings within the East Midlands that my friends and work colleagues knew little or nothing about. This helped me define the function and usability of the building through questioning and explanation on my behalf. My final shortlist included buildings which I considered very different from each other; a railway station, pumping station, windmill, Minster, modern museum and art gallery and an Orangery.

Nottingham Railway Station

Context

Nottingham has had 3 railway stations in succession on south side of the city from 1839. The third and existing railway station opened in 1904, with a terracotta façade, clock tower, porte cochere (covered drop off zone for vehicles and passengers) and booking hall built on a bridge over the railway line. In 1972, it became a grade 2 listed building. For the last three years, work has been ongoing at the cost of several million pounds to modernise the station, station car park and link the tram network to the station.

In preparation, I looked at photographs of stations taken by Martin Parr and Peter Marlow.

Nottingham Station welcome photographers onto the platform as additional security, providing they do not interfere with passengers alighting or boarding trains, do not use tripods or flash and do not take photographs of the staff.

Design and Function

Nottingham Railway Station is built in Baroque revival style. The original station was similar in design to St Pancras in London. Its function is to provide somewhere for people to access tickets for train travel, catch trains and provide refreshment whilst travelling. Train times are available and wayfinding seems fairly easy. The re-design and layout is sympathetic to the old building especially if the building is of listed building status. The functions I did not fully assess are how manageable passenger flow is at peak times and how accessible the links to other transport networks are. Tram works in this area is still ongoing.

How well does this building succeed in design and function?

Porte Cochere1/100 f8 ISO200 35mm

During the last three years, several changes have taken place to renovate and modernise the station. Drivers used to be able to pick up and drop off in the porte cochere. A new car park has been built which incorporates this facility and the area has been pedestrianised. I remember this as being a fairly dark area, full of fumes from running engines and pigeons everywhere. The brick work has been cleaned and restored, the ceiling brightened and the pigeons are gone. The designers are turning this into a usable space, although it feels unbalanced at the moment. The clock tower is approximately in the middle of the building; to one side there is a table tennis game installed (free) and on the other are two coffee shops and a Morrisons. At 9am coffee shops had stock outside them and huge advertising boards in pedestrians’ paths. Work was ongoing outside Morrisons so the area was coned off which added to the street clutter.

Booking Hall 1/50 f8 ISO400 24mm

The booking hall used to contain shops such as WHSmiths and cafes. People can now purchase or collect their own tickets from ATM’s so the buzz of conversation, atmosphere and aroma of coffee has disappeared. Although the area looks more modern, the hall was being predominantly used as a walk through zone. People were queueing out the door of the ticket office and spilling into the booking hall, questioning where to join the queue. It felt like the allocation of space was not in the right proportions although this could change as people become familiar with the new system. Signage is very clear with different colours but one is reliant upon the hall being reasonably empty to see them.

The addition of Morrisons to the station (across the road from a Sainsbury’s local) provides choice for the consumer. With the introduction of new food outlets on the station platforms and two coffee shops in the porte cochere, it seemed the station was being overtaken by food outlets in competition with each other. I did not find any other type of retail outlets, and questioned the impression created by visitors to the city.

Platform 1/80 f8 ISO200 24mm

The platform remained quite empty during my visit until a couple of trains came in. The mainline trains came to the large platforms and the train bound for the coast was right at the far end of the station. This kept the platform fairly clear of people and prevented bottlenecks.

I came away from my visit with a positive attitude to all the changes that had been made. It felt modern, fresh, sympathetic to the original station and easy to navigate around.

Photographic features of the building

This building has recently been modernised and still undergoing changes, so I wanted to show workmen still at work if I could. I did not find many images of the modernised station, so worked from memory with a view to revisiting if necessary. I remembered the Victorian staircases and covered bridges and planned to look at this to add a different height to the set of images and maybe some movement if I could capture someone on the staircase. I wanted a train either passing through the station or at the platform to illustrate the use of the building.

Photographic Challenges

1/500 f8 ISO200 24mm

The biggest challenge was photographing on the platform. Here, the bright morning sun gave good contrast but put people in silhouette. An overcast day or evening may have made photographing the platform easier. The station was busy with railway staff so avoiding them (as per their policy) meant waiting for them to be out of the shot before taking it and then recomposing as the situation changed.

Papplewick Pumping Station, NottinghamshireContext

Papplewick pumping station (scheduled ancient monument) was built by M.O.Tarbotton for the Nottingham Corporation Water Department between 1881 and 1884. Its purpose was to supplement fresh running water to the growing population of Nottingham at a time when diseases such as Cholera and Typhoid (from contaminated water supplies) were rife. An underground reservoir had been commissioned and built in 1879 to store fresh drinking water from another well with pumping station in Nottingham (Bestwood). Papplewick Pumping Station was built to utilise this storage. The reservoir closed in 1906 due to subsidence.

Restoration is managed by the Papplewick Pumping Station Trust and run by Association volunteers who hold steaming events and static days, weddings and educational visits to raise money for the upkeep of the building. I chose to visit on a steaming day to admire the building in its full glory.

Design and function

The design of the pumping station was very ornate, considering it was only built to house two machines. The pumping station itself comprises of an engine house and adjoining boiler house. The complex incorporates a superintendant’s house, cooling pond in a Baroque style, greenhouse, formal gardens and visitor/exhibition centre. Inside the engine house, 2 huge beam engines (2 x 140BHP) built by James Watt and co. pump water from a well in the bunter sandstone (which filters the water naturally) and up to the reservoir. Water then flowed down the hill using gravity to Nottingham. The engines were driven by 3 of the 6 boilers which were 29ft long by 7 ft in diameter. Each boiler has 2 furnaces and held 500 gallons of water. 6 tons of coal per day were required to produce 11/2 million gallons. Electricity was introduced to the site in 1922.

The function of the pumping station was to pump, store and supply clean water to the people of Nottingham. Following restoration, this used as a tourist attraction, education centre and wedding venue.

How well does this building succeed in design and function?

Looking through engine to ground floor

1/25 f4 ISO1000 28mm

Papplewick Pumping station’s engine building looks like a chapel from the inside and outside. It has three floors; there being a limited amount of space on the ground floor, a middle floor with a small space for wedding ceremonies and an upper floor for observation and maintenance of the engines with a small exhibition around the walls. Most of the explanations are given by the volunteers who like to pass on their knowledge or reminisce about family members who worked in the building. Although space is limited, the building appears to be utilised well. There are benches for people to sit and watch the engine rise and fall and become absorbed by the rhythm.

Boiler room 1/30 f8 ISO640 24mm

As the visitor moves through to the boiler room, they are struck by the enormity of the boilers. On the day I visited, one boiler was fired up. A wheelbarrow load of coal was being shovelled in to keep the boiler running. It made me appreciate that it was not fuel or labour efficient to keep these machines running. One could imagine the heat on a hot day especially from the glass roof.

Middle floor1/30 f4 ISO1600 24mm

By broadening the use of the building to education (running private trips), open days and weddings, visitors have the opportunity to see inside the building. Into this tiny space, 30 people are packed on chairs for weddings. The leaflet does suggest to the couple that this is a working museum and they may get covered in oil.

Difficulty was experienced by wheelchair users and people on crutches because the engine building is up a small flight of steps. The accessibility policy is advertised on line and carers were carrying up wheelchairs and people with limited mobility were being assisted up the steps. The building was not designed with this in mind.

Photographic features of the building

Underground reservoir1/4 f4 ISO3200 24mm

I took my planned minibus trip to the underground reservoir. I appreciated that any photographs would have to be handheld with a high ISO as there was going to be very little artificial lighting and I would need a little time to consider the images I would like to take. During my research I had seen images of the pumping station and I had an idea of what I wanted to take such as the floor on which the weddings were held. I decided to spend a few hours here and see what captured my imagination.

Photographic Challenges

Space is at a premium and so I used a wide angled lens for several shots. As the building was in steam, parts were moving or steaming, making a tripod essential. On some images, I prefocussed, waited for the engine to move, then took my shot as it came back into position. On images where I could use a tripod, I had to use a fast shutter speed, large aperture and high ISO to get the camera to record the movement without it becoming unrecognisable. Lighting was challenging as light through the windows became burnt out or overexposed whilst the inside of the building remained quite dark.

Southwell Minster, Nottinghamshire Context

The land for Southwell Minster was granted by the King of Wessex to the Archbishop of York in 956AD. Over the following century, it became a collegiate (church with a chapter of canons following a set of rules). Southwell became the “Minster” (mother church in the area). In 1108AD, the Archbishop of York authorised the building of the Anglo Saxon church. The chapter house was completed in 1300AD. The Church of England lists Southwell Minster as a Parish Church Cathedral and states that Southwell Minster was dissolved in 1540, refounded in 1585 and dissolved again under the Ecclesiastical commissioner in 1841.Southwell Minster survived Civil War damage and a fire and was restored back to its original splendour by the Victorians. Southwell Minster still has a group of Canons who work at different churches within the diocese.

On the day I visited, preparation work was underway for the Southwell Festival. The Minster was being cleaned thoroughly and the organ re-tuned. I purchased a photography permit to take photos.

Design and function

The building of Southwell Minster was started by the Normans in a Romanesque design with stone quarried locally in Mansfield. The chapter house was inspired by York Minster although is of a smaller design. This is a large building with no supporting central column and several large windows which let light in to make it feel light and airy. With buildings several hundred years old, styles and influences change and it is all absorbed into the building. This is reflected in Southwell Minster, which has retained much of the Norman style with its round arches in the West end and it becomes more English Gothic in the east as the building was redesigned and rebuilt.

During August, the chairs are removed from the nave in Southwell Minster to give it the feel of a church in the middle ages. Visitors are expected to stand for the services; in medieval times the services would have been in Latin and not understood by many; now the services are in English and of a shorter duration so that all can participate.

How well does this building succeed in design and function?

Nave 3.2secs f8 ISO100 28mm

Southwell Minster is larger than a parish church and yet still retains the feel of a parish church. The Minster becomes involved with the town life by holding a photography exhibition every 2 years (Masters of Vision), joining in with town festivals such as the Bramley Apple Festival (Southwell is the home of the Bramley Apple), music festivals and restoration of the Archbishops Palace (in the grounds of the minster). This involves the local residents and brings in tourists to the Minster. The Minster holds services, lunchtime recitals, arts, drama and music workshops.

Southwell Minster has a highly decorated transept, chapel for private prayer, small side chapels, and a choir. The nave has 7 bays with patterns of columns and arches repeated above each other to form the triforium and clerestory which lets in additional light. I attended a presentation from photographer David Noton one evening a couple of years ago, and the light captured by the clerestory windows in the evening was beautiful. The session could not start until the light had gone down sufficiently to see the projector screen. This was a feature of the building that the everyday visitor to the Minster would not see and may not even be aware of. With my photograph of the nave, the viewer can see where the light comes through hidden windows. During the day the building is still dark fairly dark so artificial lighting is needed. I think this is because the windows are quite small and the ceiling has dark wooden beams. My image is representative of how the building looks to morning visitors. The light through the building allows the length of the church and the organ to be seen. The cross is lit up well.

Font 2.5secs f8 ISO100 24mm

When the visitor enters the Minster during August, there is a feeling of space in the nave as the chairs have been stacked around the walls of the building. This gives the visitor the opportunity to stand in different areas and admire the floor, ceiling and walls. Both the pulpit and font are placed under an arch, which hides it away. I thought that the focal point was taken away from these. The space is being used effectively by the Minster although it does look cluttered.

Altar 1/50 f4 ISO1000 24mm

The chancel is highly decorated and in a different style (Early English Gothic) from the rest of the Minster. The patterned floor sets it apart from the rest of the Minster. The visitor becomes aware of the style when passing through the screen as the shape of the windows and colours change. This is a space in which the visitor is not allowed – the altar rail prevents tourists from straying. This space always looks tidy; everything has a place and candles and flowers are usually symmetrical. By taking this image on a diagonal, it has more depth than taking it straight on. I found that using standing height made the proportions correct within the space.

Photographic features of the building

During my research, I came across Magnum Photographer Peter Marlow. I looked at images in his book and read his account of taking photographs of 42 Anglican cathedrals in England. What I liked about his images were the perspective, uniformity and the lighting. As I have visited Southwell Minster several times, I had a plan of photographs in my head. I had only taken photos of the outside of the building previously and spent time ensuring that my exposure was adequate and columns were as straight as I could make them. The important parts of the building to me were the Chapter House, the font, the nave, the lectern, and the altar. I wanted to capture people looking at carvings or sculptures and possibly an image using the lectern. I appreciated that the Minster may have visitors and it may be difficult to avoid photographing them. I decided against photographing people lighting candles as I felt it is quite sensitive.

Photographic challenges

Chapter house Leaves of Southwell

1/350 f8 ISO400 70mm

I had planned to take an image of the chapter house showing the height and suspended ceiling. This is a very tall, wide building. Using a 24mm lens on a full frame camera and lying on my back, I was unable to capture the whole of the ceiling. The building was fairly wide and tall, with a table in the middle which made composition challenging. I found the light testing as the windows were huge; flooding the building with light, and some of the building was in dark shade.

People use the chapter house to sit and reflect, or follow the Southwell leaves – stone carvings of green men and nature, so I concentrated on looking at this aspect. A dull day would work for the room itself, but here the shadows add interest.

The lighting in the nave was fairly dark. A tripod was essential and by measuring the light in camera I was able to take a range of images to look at in more detail at home and select the most natural one. It took time to position the tripod and camera so that the columns were as straight as possible. My image differs from Marlow’s because my tripod is lower. He cites using a stepladder, a small aperture, shutter speed of 1-5 seconds and focal length of 112mm. My aperture is larger at f8 and my shutter speed was 3.2 seconds. At such a slow shutter speed, figures became motion blurred. I had to take several images so I had a selection to choose from. I included the visitor in the image of the font because it added a sense of scale.

In some areas of the minster, the camera needed to be hand held, so I increased the ISO which increased the amount of grain.

Green’s Mill, Sneinton, Nottingham

Context

Greens Mill 1/250 f8 ISO100 24mm

Built as a brick tower mill in 1807, Green’s Mill has two cloth covered and two shuttered sails and an ogee (onion shaped) cap with fantail. The design is typical of many windmills throughout the East Midlands and Lincolnshire. Mr. George Green, a Nottingham baker, built and owned the largest and most powerful windmill in Nottingham which functioned for about 55 years before being abandoned due to the rising prices of grain and the efficiency and cheaper steam rollers. It was destroyed by fire many years later. The George Green Memorial Fund bought the mill in 1979 and presented it to the City of Nottingham. Restoration began and six years later the mill opened to the public. It sells a selection of milled produce, holds baking days and encourages schools and tourists to visit the mill and accompanying science centre (based on the work of George Green the scientist).

I explored the building as a tourist attraction as work has been ongoing to raise money for a sail to be mended which will be carried out later this year. The mill houses an electric mill to carry on milling temporarily.

Design and Function

Primarily the function of the mill was to grind grain into flour by the baker for his bakery using millstones driven by wind power. The mill had to be tall enough to rise above the air turbulence from the buildings and trees. Green’s Mill stands six storeys high with a diameter of 26 feet at the base tapering to 13 feet. The fantail on the cap allowed the miller to harness all the available wind because the cap could be turned easily to allow the sails to face the wind. Shutters and cloth sails enabled the miller to make use of both light and strong winds. The position of the mill was important as wind speed increases over a hill.

The mill commands a good view over the Trent Valley and has become part of the Nottingham skyline. With the sails in this position, the mill overlooks the science museum housed in the old stable block. The cogs in the courtyard are indicative of industrial heritage and a playground waiting to be explored.

How well does this building succeed in design and function?

1/125 f4.5 ISO800 24mm

As a restored working mill, the building succeeds in design and function. To turn the building into a tourist attraction, adjustments were made to the design of the interior such as widening the steps between floors, installing electric lighting and guards around working machinery. There are an abundance of fire extinguishers which is reassuring as mills are so flammable. The mill contains machinery salvaged from disused mills and chapels. In partnership with the City Council, schemes were set up to build replacements such as window frames. In my opinion, the restoration is sympathetic and in keeping with what one expects. I watched people struggling with the stairs, themselves not realising they were easier to negotiate by walking backwards and there were no signs to inform them of this. Space within the mill is limited.

1/100 f4.5 ISO800 24mm

The narrowest width is 13 feet diameter. This space has to contain a staircase and a central upright shaft. Use has been made of the empty space on the floors by incorporating a display TV screen about the mill or exhibition boards. On some floors there is just enough space to stand next to the machinery. Oil from the cap mechanism also runs down the walls in some places.

The stone floor contains two big hoppers (above) into which the grain is poured which are fed onto the millstones. The meal floor (floor below the millstones) is the floor is which the miller needs space

Miller 1/25 f8 ISO400 24mm

to work. The miller weighed out the flour into bags for sale.

This floor is dusty and cluttered as storage space is limited.

Everything is on display to the visitor as there are no cupboards.

Only the ground floor and science centre are accessible to every visitor. This limits the types of visitor who may visit the attraction. This is widely advertised on the website so people have the information when planning a visit.

Photographic features of the building

Having visited several mills, my list was quite easy to draw up. These included a miller at work, steep and narrow steps, the amount of available space on a floor with equipment, the inside of the cap, dust, cramped working conditions, view from a window with sails, outside view of the mill and visitors looking at a display. Having not visited this mill since my children were small, I couldn’t remember quite how much was accessible. I didn’t know the current state of the mill but as it is in Nottingham, it was not difficult to make a return trip.

Photographic challenges

As the sails were facing the science centre the view of the mill tower is obstructed. Image 1 shows the park in which the mill is situated. I decided to show the sails rather than the cap because I think it shows the style of the mill. In images 2, 3 and 4 a mix of electric lighting, small windows and white painted walls make the lighting conditions challenging. As this is a confined space it is not easy to use a tripod or straightforward in capturing the whole room without using an ultra wide angle lens which would cause vertical’s and horizontals to bend so I chose a less extreme wide angle of 24 mm and I raised the ISO to enable me to handhold the camera. I used a wide angled lens to give me a good view of each floor. I was advised by the miller that dust may get onto the lens cap and scratch it if not careful as the dust is so fine. This was something I had not considered previously.

The Collection – Archaeology and Art Museum, Lincoln

Context

This building was designed for Lincoln City Council and County Council by Palmer Hudspith Architects. It was completed in May 2005 at a cost of £7.8million. The council’s design brief requested re-development and regeneration of an old car park on Flaxengate and linking together the cathedral area of the city with the shopping area. The building is built from Ancaster weathered Limestone quarried locally and typical of buildings in Lincolnshire. The lifespan is estimated at 120 years.

The museum houses Lincoln’s archaeological collection in the main hall, a modern art exhibition from local artists in a smaller room and an exhibition room in which local children have been involved. Keen to involve children and adults in a wider range of experiences, films are timetabled for children and lunchtime talks are given for adults. Visitors can hire a digital iguide to gain more information on the exhibitions.

Design and Function

The Royal institute of British Architects suggests that “The design of the museum creates connections through the site and improves links with the Usher Art Gallery and adjoining Temple Gardens. The external courtyard is designed to allow activities within the museum to spill out in summer months whilst also creating a new public space for Lincoln. The forms of the building fracture as they follow the contours up the hill towards the cathedral, opening up routes and views through the site. The new museum is a landmark building for the city of Lincoln.” (http://www.architecture.com/RIBA/Competitions/CaseStudies/Cultureandleisure/Museumsandgalleries/TheCollectionLincoln/TheCollectionLincoln.aspx) accessed 27/Aug 2014

The visitor’s journey begins by crossing an internal bridge with large windows. From here, the visitor sees the connection with the Usher Art gallery and a courtyard below. At this point the visitor becomes aware of the height difference in the building. The building feels spacious as one is led into a large open plan exhibition hall. A glass ceiling and a tall, narrow window is visible on each side which let light in. The visitor is channelled into the main exhibition hall with windows at the top of the walls. Gaps in the brickwork allow light in which changes the way the building looks depending on the shadow and light contrast. On the way out of the main exhibition hall, the visitor is greeted with a view of the cathedral towers through a large picture window.

The function of The Collection is as a tourist attraction and educational facility. During the week, the museum was busy, attracting grandparents with grandchildren, families, tourists to Lincoln, friends and business people meeting to use the coffee shop.

How well does this building succeed in design and function?

Picture window 1/15 f8 ISO100 24mm

This building has a large, fairly empty, exhibition hall which one enters after the reception area. There are a couple of display cases, a bike, and seats around the outside. Visiting early one Saturday, I thought the exhibition was lost in the space. However, a weekday visit revealed that this was useful space for people. It functioned as a meeting place, rest area, chill out zone for people who had seen enough and to break parties up a little before entering the exhibitions which may cause a bottleneck. As the visitor comes out of the main exhibition, the theatrical view of Lincoln Cathedral from the picture window reminds the visitor of the links to the past both physically and metaphorically.

The beginning 0.8secs f7.1 ISO100 24mm

The visitor is guided through the ice age by strategically positioned boards to a large compass marked on the floor (used for special exhibitions). The exhibitions then radiate around the room.

Displays use height to inform the visitor of the period they are entering. Space is provided for dressing up and mirrors to view oneself also reflect light back into the room. There are spaces for solving puzzles, and space for game playing – either 2 people playing a form of chess or using a computer.

Use of floor space 1.6secs f8 ISO100 24mm

Under floor space was used in the Roman area

to display a floor (under glass) which people

walked. Some appeared not to notice, and

others were worried about the strength of the

floor. I felt the space was utilised very well; a

lot of information and artifacts were included

with space for interaction. On each visit, one

could find different things to do.

Hanging space 1/20 f4 ISO1600 24mm

The small exhibition room containing modern art was laid out with space around each exhibition. A partition wall housed a media display of the artist’s ideas and examples from their work which did not work properly. A small plaque on the wall explained artists work and a guide was on hand to answer questions. The work was spaced out well and lit to encourage visitors. I think people visited out of curiosity. The contemporary feel of this exhibition fitted well with the modern building.

Photographic features of the building

I visited this building last year and was impressed with its layout and how user friendly it was. I remembered the picture window and the theatre like qualities of the first exhibition hall. The modern art collection looked colourful and used hanging space whilst the under floor display was another way of utilising space.

Photographic Challenges

I could not find a photographic policy displayed on the website so phoned The Collection to check their policy. Having been before, I had an idea of what I wanted to take. To capture the picture window, measured the lighting in camera and took images until the I highlights started flashing. In photoshop, I built up a series of 3 layers with the correct exposure to represent how I saw the view.

Another challenge was the darkness. I had increased the ISO and handheld the first shots. I was not satisfied with the noise when viewed on my monitor so returned to shoot again with a tripod and low ISO. As the shutter speed was slower, anyone walking across the frame became motion blurred. As most of the visitors were children, I decided to use shots without people for this building.

Reflection from the windows onto the glass floor was an issue. I included a wide shot to show how the space was utilised and experimented with people’s reflections in the glass floor, although used an image with no-one in it.

Belton Orangery, LincolnshireContext

Belton Orangery 1/80 f10 ISO100 35mm

The Orangery at Belton House was designed by Sir Jeffrey Wyatville in 1820 and built on the site of a former manor house. There is not much written about the orangery itself. The literature on display in the Orangery suggests that “the building was at the cutting edge of design for its day with a supporting structure and artificial stone roof balustrade. Statues were added in 1890.” Belton is now managed by the National Trust whom open the gardens and buildings for visitors to enjoy. They offer a civil wedding package and the facility for the bride and groom and their guests to use the orangery to hold a drinks reception. This brings in revenue for the maintenance and upkeep of the property.

Design and Function

1/60 f4 ISO400 24mm

The function of an orangery is a building in which oranges (and ornamental plants requiring a warmer climate) can be grown. The exterior of Belton’s Orangery is in keeping with the house and formal gardens. The building has many windows, a clear glass roof and doors which can be opened when the weather is warm. There is a hosepipe for keeping the plants watered. From the outside, the building looks spacious; until the visitor steps inside when one finds most of the interior full of tall plants. A fish pond adds tranquillity and movement to the building. A small seating area provides somewhere for a visitor to rest and enjoy the serenity and beauty of the plants. The visitor is invited to wander along the paths on a voyage of discovery.

How well does this building succeed in design and function?

1/10 f8 ISO100
Effective Focal length 29mm

At its most basic function, the orangery houses plants; maybe not orange plants any more but plants which require a warm climate. The building is tall and wide, allowing several tall plants the space to grow. In my opinion the difference between a greenhouse and an orangery is that an orangery has formality and permanence of plants whereas a greenhouse is more of a working environment. I see another function as being similar to a conservatory or garden room; a covered space for guests to relax and enjoy peace and quiet. There is not much space for people to sit and admire the views or plants. I did question how a party of 60 guests would manage in the orangery and gardens.

1/60 f11 ISO400 24mm

During my visit, I found the visitors were either interested in the plants or photographing the building. Children only came in to look at the fish and throw coins into the pool. The atmosphere was calm and tranquil, and on a sunny day the temperature of the building was regulated. I considered if it should be more interactive for children and found displays which had been added recently in a different part of the gardens explaining more for children. Children like Belton for the adventure playground and by not turning the orangery into an interactive exhibition for children; adults have retained the calm environment of the orangery.

Photographic features of the building

I remember this building with fondness as I spent many a summer day at Belton House during my childhood. A Google search revealed images of the outside set amongst the formal gardens, and when the gardens have colour and the sun is shining, the building looks spectacular. I planned to use one outside shot. I resolved to spend a sunny morning in the orangery and see what I could photograph. I found a photograph from c1960 taken by Francis Frith where the orangery was used as a restaurant which explained the addition on the back of the building. I did not find this documented in the history of the building.

Photographic challenges

The weather played an important role in photographing this building. As the function of the building is for plants who favour warmth, a dull grey sky was not acceptable. I took a range of images, some with a polarizer and some without to cut out the reflections from the reflected light as the building contains a lot of glass. It helped add contrast to the images where I looked through glass and give the deep blue sky seen in the first image I planned to use shadows to create interest and show depth within the building. A variety of shooting heights enabled the viewer to understand the design of the building. Image 1 was taken from a bank at the same height as the building. I included the steps both in the garden and up to the building to show the position within the garden. The paths suggest where the visitor may wander.

Image 2 was taken from standing height across the orangery to give the feeling of layers of plants. The viewer can see the geraniums surrounding the pool, the pool, a small potted plant, the tall trees which are up to the height of the ceiling and the ornate roof. This image shows the space there is within the building, although it is not usable as it is above the plants.

Image 3 shows the small area which has two small seats where the visitor can rest and research the plants grown in the orangery in the books provided. The pots are pushed towards the wall to give the visitors maximum space to sit and a feeling of space. This is in stark contrast to image 4

Image 4 was taken from just above floor level. The shadows follow the paving slabs and lead the viewer to the tree in the pot at the end. The contrast of the shadows give the feeling of being closed in and a compact space, especially as the plants (and bees) come across the paths.

Learning points from assignment

Phone ahead and ask if the establishment has a photographic policy if it is not published on line – this saves turning up and shooting only to be questioned later. By adopting this method I was able to clarify access and restrictions.
Walk round the building first before getting my camera to and watch how people used the space to understand the flow of the building and how the space is utilised.
Patience paid off. I had to be prepared to spend a long time and take lots of photographs. For some images I had to decide whether or not I wanted to include people, such as the miller, so I had to keep exploring the mill until someone engaged in conversation with him.
Understanding the history of the building made me appreciate the importance of the building and the number of people who had passed through the building. In 3 of the buildings, I found could I be still and absorb the atmosphere. I visited an old World War 1 airbase (which I did not include) because I found the ambiance was difficult to make sense of.
Don’t be afraid to revisit and reshoot if the first set of images are unsatisfactory.
It was not until I put the assignment together at the end that I realised that most of the buildings had been taken using different shooting techniques.
Expect the unexpected such as a broken sail and cleaners working hard to prepare for a festival
Adapt camera settings in response to the change in light levels when clouds pass over the buildings especially when I cannot see the outside.
One of the distracting features of my images in this building is the electric lights. I read that Marlow took his cathedral images at dawn with all the lights turned off. This would certainly help, but not practical for this assignment as these were public buildings during opening hours.