The document summarizes Felicity Bearfoot-Fallon's extended project exploring how to bring life and energy into temporarily empty places through photography. It describes her influences like Frederic DeLangle, who photographs deserted areas at night using car headlights. For her test shoot, Felicity used slow shutter speeds to capture ghostly movement in a playground. Her main shoots involved long exposures to depict the movement of potential children playing through colorful lines and equipment, bringing life back without needing real people.

1. Extended Project
Felicity Bearfoot-Fallon
Bringing life into lifeless places
When I walk home from the park, or go past the school playground, I am
fascinated by how it can be extremely busy, to then being lifeless moments
later. I want to explore how to bring this energy and life into places that are
temporarily disremembered.

2. Starting Point; Gallery Visit: Saatchi
Gallery
I went to the Saatchi Gallery in London and found
photographers and artists who based their work on
some sort of movement, time or both. I compared the
photos to the other forms of art such as drawings and
paintings, to see the different concepts and forms of
the work and how they related back to their subject.

3. Frederic DeLangle
Artist Research 1
Frédéric Delangle, 1965, is a conceptual photographer based in France working with a large scale
camera. In his project Nyctalope, meaning "to see the night", he made night-scapes at rural locations
using the headlights of his car as a light source. In 2005 and 2006 he also photographed at night in the
city of Ahmedabad, India. The shutter was open for periods of 5 to 10 minutes. In the city crowded with
people and vehicles, it was the only moment to actually photograph the city itself. The following
images come from the series Pourri, Nyctalope and Ahmedabad No Life Last Night. This artist travels to
deserted, run down places and areas and captures them. His photographs provide us with a slight
uneasiness as the places look very isolated and lonely. He rarely has people in his photographs to add
to the loneliness and desertion, and if they are included, they are very concealed.
I like his work as it is diverse and sinister, I have not seen an artist similar to him. He puts light into
darkened, isolated places and brings life to the area through light.

4. ContentContent
Scale
Shadow
Space
line
Depth of field
Light
FormForm
Fluid
Abstract
Simple
Symmetry
Contrast
MoodMood
Dramatic
Atmospheric
Imaginative
Isolation
ProcessProcess
Reflective
Expressive
Illustrative
Photographic
Frederic DeLangle

5. Artist 1
Alexy Titarenko
Alexey Titarenko received his Master of Fine Arts degree from the Department of Cinematic and Photographic
Art at Leningrad's Institute of Culture in 1983. He began taking photographs at the beginning of the 1970s, and in
1978 became a member of the well-known Leningrad photographic club Zerkalo, where he had his first solo
exhibition (1978).
Titarenko’s signature style is a washed out grayscale as everything in the Soviet Union seemed grey, reflecting the
drabness in the water supply, from the country’s soul to its streets. And yet, Titarenko’s grey photos do not relfect
‘drabness’, but movement and the busyness of the streets. There is ghostliness in Titarenko’s photographs, a kind
of impressionism that aims to make the cities uniquely his own. This is especially evident in his photos of Havana, in
which he transforms a sundrenched city into an eerie one. The feeling of otherworldliness is sometimes
compounded by the timescape quality of Titarenko’s photos, due to long exposures, and by a single dash of
washed out color, usually the yellow of the light, achieved by partial tinting.

6. ContentContent
Space
line
Shadow
Light
Depth of field
Scale
Perspective
FormForm
Simple
Contrast
Abstract
Symmetry
Fluid
MoodMood
Dramatic
Atmospheric
Harmony
imaginative
ProcessProcess
Reflective
Blurred
expressive
Alexy Titarenko

7. Test Shoot
School playground
at break
Ghost like effect
created by a slow
shutter speed,
similarly to
Alex Titarenko.
Movement created
within the trees by a
slow shutter speed
and moving my hand
slightly.
For this test shoot, I wanted to
experiment with long
exposure and slow shutter
speeds, to see how movement
and time can bring life back
into this specific lifeless place.
I thought a good starting point
was a children's playground.
I had a slow
shutter speed
and moved
forward slowly
to have a
moving blurry
effect on the
image.

8. Final Images
My final images are successful because they show a foggy, ghost-like effect, conforming to
the emptiness of what once was a lively place. The disillusioned effect also creates isolation
within the images and they portray the movement within an empty playground, thus
bringing life back into lifeless places.

9. Main Shoot 1
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For my first main shoot, I wanted to
bring more colour into the images.
Children are fond and are attracted to
bright colours, and the long exposure
creates the possibility that it is the
movement of the child playing.
I created this effect by walking along the
lines and shapes on the floor to
establish some direction. I still wanted
to keep the ghost-like, foggy effect to
include the idea of isolation, as no
children can be seen.
Reflection
I believe this shoot was successful as it
portrays everything I was aiming for; the
life of child playing, of which physically
cannot be seen in the images, apart
from the movement the child may of
made. Next time I want to go to a public
playground.

10. Final Images for shoot 1
*on mr guegan’s laptop*

11. Main shoot 2
For this shoot, I went out of school and to a public playground, where there was no guarantee
there wouldn’t be anyone there. Using the movement of the equipment in the playground, and
long exposure, I created movement without using people.
I still liked the idea of incorporating colour and keeping the photographs bright.
On some shots I had different shutter speeds to create different images that have used faster
and slower movements.
*contact sheets at school*

12. Final Images for shoot 2
*on laptop at school*