29.10.13

Assignment three: Colour

Links: Pinterest
My aim in this assignment is to show how colour can be used in order to make a photograph more balanced as well as creating harmony and tension using complementary and contrasting colours respectively.

Complementary colours are those which face each other across the colour circle, such as red and green or orange and blue. The values poet, J.W.Von Geothe assigned to the primary and secondary colours according to their brightness are; yellow 9, orange 8, red and green 6, blue 4 and violet 3. These values can be used to enable us to create the correct proportions of colour in an image, those for complimentary colours being;
red:green – 1:1

orange:blue – 1:2

yellow:violet – 1:3
Harmony can also be created using similar colours, those which are close together on the colour wheel. This often consists of placing warm colours together such as red and orange or cool colours such as blue and green.

Colours spaced a third of the way round the colour wheel such as blue and red can create a striking contrast, sometimes to the point where they clash. This contrast can be used to create more striking images.
These colour combinations can also be used in the form of accent colours; created when a large area of colour is broken by a small splash of another colour. The uneven proportion of colour can create added tension in an image.
In completing this assignment, I have really struggled to create one cohesive set of images. While trying to develop my creative voice, especially with regards to colour, I have found myself flipping between the two extremes of my personality. I love colour; bold, bright, vibrant colours in big blocks appeal to the extrovert in me while my quiet, nature loving side feels at peace around the muted tones of a sun-bleached landscape... but do I have to choose?
My research first took me to a photographer described as a genius in colour, William Eggleston. Eggleston has a very distinctive style combining ordinary, everyday subjects with strong colours, often with a stylised, over processed feel. Whether photographing a bike or an elderly lady, Eggleston’s slightly surreal images evoke a tension akin to that of a Hammer horror film. Having originally worked in black and white, this photographer thrived at the introduction of colour; selective use of colours complement the awkward angles already used to create that Eggleston tension; this is an artist with a clearly defined voice.
Vienna born Ernst Haas became the premier colour photographer of the 1950s in the United States. Haas mainly uses colour subtly to create abstract images. His individual style, although distinct feels much broader than Eggleston’s with more variety in technique and subject matter.
One of my favourite photographers for his use of colour is Jay Maisel; Although Maisel has photographed many celebrities, I am more drawn to his distinct use of colour and light. The two images shown below are very different in tone and strength of colour; the vibrant, contrasting red and blue and the more muted, complimentary red and green evoke quite different feelings and it would be easy to think they were taken by different photographers. On viewing more of Maisel’s work, the link becomes apparent in his segmentation of colour; the third image, ‘Restaurant Roof’ shows that Maisel uses the same style when working with light. 
 
Before discovering Maisel, I had worried that in order to develop an artistic voice I would have to quash parts of who I am in order to pursue a particular type of photography. I now understand that this does not necessarily mean a choice between vibrant or muted colours or between landscapes and close ups but it is about the individual style in which these elements are used. Therefore, the images I have chosen for this assignment are not of a particular type; although unlike my draft piece, I have attempted to link the images in a more cohesive way. I feel that this submission is more developed than my ‘colour-by-numbers’ draft piece, as I am now satisfied that each image contains a little bit of me and that the project as a whole shows the varying shades of Jayne Arksey:
The set begins with a selection of vibrant close ups showing clearly defined complimentary and contrasting colours. Zooming out, we visit the equally bold, hues of a festival landscape, displaying colours working together on a larger scale.
As we move towards the more subtle hues of natural landscapes, the image ‘08 – Party Light’ creates a link between the two genres displaying the orange plastic against the earthy tones in the wood. As landscapes move from countryside to the Humber Estuary, we come full circle with a vibrant close up of the warning sign set against a contrasting blue sky.

01 – Text Talk: This image shows a red mobile phone cover against the green backdrop of a garden lawn. The complimentary colours are balanced in a 1:1 proportion, consisting of similar amounts of each hue. The visual simplicity of this image allows us to consider the significance of the image; the hands cradling the phone showing the importance of technology today.

02 – Sun Salutation: The 1:3 proportion of yellow to its complimentary violet creates harmony in this image. Had the photograph been taken from above, showing the petals to their full extent, the violet may have overpowered the yellow. This side view lessens the proportion of the violet area, creating balance. The deep green backdrop enhances the vibrancy of the image.

03 – Bins: The contrasting colours of the bins attracted me instantly but as they were in a busy festival field, it was difficult to get a shot from the right angle. On the last morning whilst eating breakfast, I finally got my shot. I composed in order to include less orange than green in line with Geothe’s proportions.

04 – Cool: This image shows how desaturation can affect the balance of an image. Although the proportion of complimentary hues, orange:blue is around 1:2, fitting with Geothe’s values, the orange drink obviously stands out as the main focus of the image. Factors such as depth of field and perspective play a part, however the intensity of the orange compared to the subtle blues really swing this balance. Where the blue background would have cooled the image, over-exposure creates a hot, white area to the right. I like the imbalance in this image; for me it creates a certain amount of tension which fits with the need for a cool drink on a hot day.

05 – Sundance: The yellow t-shirts fit perfectly with the outdoor environment as they link harmoniously with the grass and sky. I felt that using the greenery alone as a backdrop would create an overly yellow image; therefore I adopted a low angle to include more sky. As yellow, green and blue flow through the colour wheel mainly on the cooler side, harmony is created through similarity. The blue and green accents in the dancers’ outfits add a smaller, yet more intense version of these hues, balancing the bright yellow.

06 – Noisy Toys: This image shows an imbalance in colour which fits perfectly with the subject matter. The yellow hues in the banner and grass dominate the image, broken up by the purple accents in the text and backpack. Had the hues been reversed, the complimentary colours would be much more balanced, however the tension created works with the nature of the image. 

07 – Flame: Used as an accent colour, the lady’s bright orange hair contrasts dramatically with the greens of the grass and her vibrant clothing. Furthermore, there is a distinct imbalance in strength of colour as the lady’s friends are dressed in more muted tones.   

08 – Party Light: The orange accent created by the light provides a vibrant contrast to the green striped fence. This is softened by the rust colours and earthy muted tones.

09 - Amber: The upper portion of this image is filled with warm, golden hues. Although a similar colour, the cooler green of the t-shirt balances this warmth. Although a small part of the shot, I feel that the inclusion of the red trouser leg draws the eye to the similarly coloured lips, bringing attention to the girl’s face.

10 – Dawn: The early morning light warms the similar golden yellows and greens of the fields. The violet sky subtly complements the yellow while its contrast to the green below wakes up the sleepy morning scene.

11 – Meadow: The yellow dandelion provides an accent to the similarly coloured greens; however I feel that it is the complimentary link between the yellow and violet which creates the harmony in this image. Without the yellow accent, the green and violet create too sharp a contrast for such a relaxing image. If the violet were omitted, the similarity of the green and yellow would not create enough impact to generate interest.

12 – Dandy: The contrasting green and violet create a vibrant backdrop for the colourless clock; though the muted tones prevent the subject from being lost.

13 – Shack: Instinctively, I felt that the colours in this image balanced very well but didn’t really think about why until I had uploaded the image. The main subjects of the image are made up of the three contrasting hues; blue, red and yellow. The plastic sheeting and roof show the largest area but most muted tones of blue. Also on the roof and in the barrow, slightly smaller areas yet brighter tones of red are shown and then smaller yet more saturated patches of yellow are present in the bags. I feel that the green elements to the corners add a softness to an otherwise contrasting image.

14 – Ring: The similar hues of warm red and violet create a peaceful image with just enough blue to illustrate the coolness of a walk on the banks of the Humber. In a balanced image, the proportion of red:violet would be 2:1; however the sharper focus and detail in the ring aide to rectify the balance.

15 – Humber Accent: Warm hues are used in this image, using pale violet and pink with a red accent. A contrasting accent would have created great impact; however, as the image consists of similar colours, the boat sits calmly, adding interest but not detracting too much from the peaceful nature of the overall image.

16 – Warning: The calm blues are rudely awoken by the bright yellow warning sign while, although desaturated, the red highlights in the sky add to the contrast. Some harmony is restored by the muted violet river.

I have always had a fascination with colour and how it makes us feel so have enjoyed taking this interest further into the effects of varying colour combinations. I have intentionally steered away from staged scenarios as, although my style is still developing, I know that that I am much more attracted to real life situations. In some ways, I feel that this has made it more difficult to create a cohesive set as the colours have to exist in order to be photographed, however the added challenge has aided to open my mind to the world of colour. I feel that as I progress in the world of photography, this will be a significant aspect of my work.

All images from this assignment can be seen in the corresponding Flickr album.

Assignment three: response to feedback

My tutor feedback from Assignment 3 wasn’t quite as positive as that for the previous assignment; the main criticism seemed to be that the images, although fine individually don’t come together as one complete set. It’s a fair point, they don’t but I’ll try to explain how this came about:

·         Firstly, it didn’t cross my mind that there had to be an overall theme – naive I know but in assignments two, four and five, it specifies that a theme is required in the brief; however this wasn’t stated in this assignment. Having said that, I suppose I should have assumed; even if the subjects varied greatly, as a photographer it is expected that a certain style will emerge but this doesn’t show in this set.

·         The other issue was that the way I approached this subject was a little off the mark. I felt that setting out to complete an assignment in which so many combinations were necessary would be almost impossible without using set up situations. Instead, I spent a month or so, whenever I was out with my camera focussing my attention on the colours around me and capturing as I saw. I can now see that this has lead to a very disjointed set; however I still feel that I have learned more from this than a more coherent set of still life type shots. Maybe somewhere in the middle would have been the way to go.
However, even though this set is described as more efficient than creative, my tutor does say that I’ve got a decent intuitive command of colour so I’m pleased about that. As more of the technical aspects of photography become intuitive, I will be more able to concentrate on capturing the story and emotion behind my images. So what to do about it; I had a few options:

1.    Use the existing images but try to arrange them in a more cohesive way

2.    Use some of the images which work together and add more to try to create one consistent theme

3.    Find a middle ground and maybe use a few more of the images, creating a couple of separate  themes
I felt that more research was needed before deciding so I looked to the works of Eggleston, Haas and Maisel...
This research enabled me to reach a decision for this project; I decided to revisit my submission, selecting only the images which I felt were true to my developing style. Any images submitted purely as a result of fitting the criteria would be removed and replaced.

Finally, I had a plan!

Assignment two: Elements of Design

Links: Pinterest

One of my favourite types of subject is the point where industry and nature meet, so I decided to base this project on a tiny beach on the banks of the River Humber which I often visit with my children. The beach is set between a ship yard and a power station and is the home of three old ships, slowly decaying into the riverbed. 

Edward Burtynsky’s ‘Shipbreaking’ series documents the industry of dismantling and recycling ships in Bangladesh. India based Tasveer Journal describes the set as one of Burtynsky’s most poignant and increasingly significant in light of today’s environmental insecurity, describing ‘objective detachment and a desaturated colour palette of rusty oranges, cool blues and steely greys’. I have aimed to use a similar palette in my work as I feel it is fitting with the subject matter.
In order to complete the project, I visited the site on three separate occasions; a dull, rainy day, an early morning as the sun was rising and a relatively sunny afternoon as the sun was descending in the sky, creating some interesting shadows. Unfortunately, these shadows come with much more vibrant hues, so I have desaturated some images in post processing in order to create a more cohesive set.

01 – Tipped: The first shot in my set was taken in order to display a single dominating point in the frame. This is the only staged shot in my set and I added the gravel in order to add some interest. I found the shot worked best with the bottle set on the top left third as the third lines are a classic position for drawing the eye. This also gave to bottle space to ‘look’ into as it was facing downwards and towards the right side of the screen. The leading line created by the gravel trail promotes movement through the image.

02 – Cold: My reasons for positioning the subject in this image were quite different. The boy was placed to the edge of the image in order to show the vastness of space around him. If he had been standing mid shot, this would have had the effect of splitting the shot in half and therefore making it seem smaller. Secondary subjects such as the jetty and the Humber Bridge, several miles behind show the outer limits of the space. 

 03 – Sunk: The two subjects are fitting examples of my theme, industry and nature. Both elements are manmade, the rock seemingly being from some kind of wall. Over time, they have become so worn and weathered that they have almost become a part of the natural surroundings. The shot is taken from such a perspective that the boat and the rock appear to be almost the same size. Their positions in the shot balance each other and the leading lines in the mud draw the eye from the rock to the boat.


 04 - Stepping Stones: This image shows multiple points of interest creating a geometric shape. The three clumps of seaweed form a diagonal line leading towards the horizon. Along the horizon is the end of the jetty, echoed by a small grassy island. The horizontal and the diagonal lines create an implied triangle, being joined by the right hand edge of the shot.


 5 - BlackPaull Illuminations: The lights create a horizontal line reaching out from the right side of the shot and becoming very faint towards the left. I feel that the grasses, as well as creating foreground interest, add some weight to the left of the shot so make it feel more balanced.


 06 – Three Times Tall: The repeating pattern of the silver pipes echoes the lower row of silos. The horizontal lines of the silos and the vertical pipes create stability in the image reflecting the nature of the sturdy structures.


 07 - Saltend Skyline: This image of the power station displays a wealth of both vertical and horizontal lines. The lights accentuate the rhythm of the towers moving along the image, with the horizontal smoke giving direction to the movement.


08 – Jagged: The rock creates a definite diagonal line across the shot from top left to bottom right. This is echoed by a softer line to the lower left and intercepted by a second soft line bearing down from the top right corner. Although simple, the lines created are balanced and pleasing to the eye.


 09 – Road to Nowhere: The groove in the mudflats creates a curved line leading towards the rear of the shot. This follows the idea of an implied line leading into the background; however the curves give much softer, slower movement than a more direct line would. The clump of seaweed in the foreground gives a point of interest as a starting point to the movement.


 10 – Hull: The intention when taking this shot was to show the implied triangle created by the converging parallel lines of the hull. On uploading the photograph, I discovered that the curves of the top and bottom of the boat were more prominent. The two elements combined create a sweeping movement through the image.


 11 – Stuck: I found this metal bar jutting out from the pebbles and was unable to move it so decided to shoot it in situ. The angle of my shot shows the triangle which is implied when two parallel lines converge.


 12 – Grave: Triangles can also be created by implied lines between three subjects, for example, three people. The children in this image form an implied triangle with the two ends of the boat. The boat itself is also made up of several triangles.


 13 – Tracks: The tread shown in the tyre show rhythm flowing along its circumference. I have shown the hole and the edge of the tyre in order to bring an end to the rhythm, creating a more interesting image.

 14 – Edible: This image displays pattern as the repeating shapes spill over from all edges of the shot. Although the pebbles are not exactly the same shape, they are similar enough to create pattern.

I have thoroughly enjoyed this module and feel I have learned a great deal about what design elements work in an image and why. I have visited this beach many times over the past few years, yet this exercise has enabled me to create a much more diverse range of images than on previous visits. I feel that setting similar challenges on future shoots will enhance my creativity and lead to much more interesting images.

All images from this assignment can be seen in the corresponding Flickr album.

Assignment two: response to feedback

I was quite pleased with the response to my ‘Elements of Design’ assignment. I had taken shots on the same beach at three different times of day; however due to the subject matter, those taken on a dull, drizzly morning seemed the most successful.
My tutor mostly preferred the images taken without people in and I can see his point. The children in the image below distract from the intended subject which is the vertical lines of the pipes. He also feels that this image would be more effective with landscape orientation to create more of a sense of space. I agree that this would make the image fit better as part of the set but I prefer the portrait orientation as I feel it enhances the vertical lines which are the main subject of the image. I will revisit the sets to see if I have an appropriate replacement.


My tutor suggested some research on industrial landscape photographers as this is an interest of mine. I found the work of John Davies <http://www.johndavies.uk.com/> interesting and especially like his image of Agecroft Power Station: <http://gb.pinterest.com/pin/353110427005940617/>. Having spent much of my teenage years close to the power station featured in my assignment, I seem to have developed an admiration for their huge, silent form and love to photograph them when possible.
Research on John Davies lead me to Edward Burtynsky where I discovered several albums which appealed to me, especially one entitled ‘Shipbreaking’, a captivating album showing the dismantling of no longer needed single hulled ships. Like the old ship I photographed sinking into the mud, Burtynsky speaks of nature reclaiming ‘even the most ambitious of human incursions into the land’. Burtynsky has captured perfectly the feel of the massive ships becoming part of the landscape, evoking visions of a vast graveyard.
In response to this further reading as well as my tutor’s comments, I feel that some of my brighter images in the set would benefit from a re-edit, making the overall mood more consistent.
 

Assignment five: Applying the techniques of illustration and narrative (draft)

This final assignment shows a summation of all elements of The Art of Photography. Using knowledge and skills developed in previous units alongside this unit’s learning on illustration and narrative, I have created an illustrated insert for a magazine.

Having had the opportunity to photograph several weddings for friends and family this year, I thought it fitting to use a selection of these images for my assignment. My main aim when photographing these weddings was to capture as much as possible of the emotional journey travelled by those involved.

Don McCullin in his article, ‘The Art of Seeing’ states that ‘emotional awareness is the most important aspect of photography’. He believes that being emotionally committed to where you are and what you are doing far outweighs the technical side of photography; his images taken in war zones and refugee camps show his firm belief in this ideology as the emotions of the moments spill out onto the page. Focusing on love rather than war, I considered McCullin’s ideals in my own work. I’ve never been a fan of weddings; however those which I have photographed this year have left me feeling quite elated. The thrill of listening to the ceremony for that perfect moment when you know the couple will be looking lovingly into each others’ eyes, watching and waiting for those instances which make your own heart skip a beat as they begin to relax together, capturing the beauty of a radiant bride, flushed with excitement and contentment as she revels in the day she has dreamed of since being a little girl. Far from the emotive sadness of a war zone, a wedding is a rollercoaster of mixed emotions, mainly positive and a pure pleasure to capture in images they’ll revisit for the rest of their lives.
With this in mind, I decided to focus on these emotions for my illustrated narrative. Pondering over how to fit this concept into a magazine article, I decided on the form of an advice leaflet; all things considered, even the most organised bride-to-be could not predict how they might feel when the day finally arrives. While naming the images by emotion, little captions kept springing to mind which ended up in the form of a light hearted poem. I feel that the humour this injects reminds us all to not take the day too seriously – after all, no matter what highs and lows the day brings, you will end the day a married couple and no wilted posy’s going to stop that.

Front cover: I have used white and feminine hues for the text to fit with the wedding theme. An uncluttered cover, it gives a clue as to the article inside. The font used is a calligraphy style befitting to the wedding theme.
 
The first page show the run up to the ceremony with all the nerves and tears that come with it. As the bride looks at her groom on the opposite page, all of this is forgotten.
 
 
The mix of colours make this double page feel quite cluttered and busy, embodying the often frantic nature of many elements of the event. Despite firm intentions to enjoy this day more than any other, it's easy to become overwhelmed with the stresses and strains involved. I felt that the romance of the calligraphy font didn't fit the nature of this page; the alternate font used diffuses the romance, yet still retains a certain softness befitting to the overall theme.


 
Juxtaposed with the previous double page, this page is almost monotone and peacefully sparse.
 
 
A happy ending! The deep blues of the evening interspersed with feminine lilacs and pinks from images to background and text. The black and white image aides to de-clutter and balance the page.
 
 
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00 Dress - The image used for the front cover does not directly represent a specific emotion but is fitting with the strap-line used to draw the reader in. The dress symbolises a major part of the seemingly infinite list of preparations when planning a wedding; it also embodies the desire for beauty and perfection represented by image 01 ‘Pampered’. I chose quite a plain image for the front cover with minimal colour variation to allow for visibility of the text. 
 
 01 Pampered – Pampered symbolises the strange mixture of feelings a bride-to-be may experience. This image shows the bride having her makeup applied, yet highlights a concept applicable to many aspects of the day. The special feeling of being pampered is slightly marred by the worry seen creeping into the bride’s face as her fastidiously made plans slowly come to fruition; Will the dress fit properly? Will the cake arrive on time? Will the guests enjoy the meal? 

The leading lines in this image; the makeup artist’s gaze, her arm and the makeup brush all lead towards the main focus, the bride’s face. The large containers, softly focused in the background hint at the added requirements for this special day. I have opted for an over exposed effect to symbolise the vulnerability of the moment and to capture the innocence of a young woman entering into married life. 

02 Nerves – Positioning themselves for a pre-ceremony shoot, the girls take a moment to reflect. This image speaks volumes and for me, surpasses any eyes-to-camera posed shot. The feelings are perfectly captured as bridesmaids stand in quiet reflection while the bride exhales through pursed lips to attempt to still the butterflies in her stomach. Firmly placed between the final arrangements and the commencement of the day; just for a second, time stands still.

The vertical lines of the girls and furnishings stabilise the image, grounding and giving the sense of a moment frozen in time. The rhythmic arrangement of the three posies gives a soft, bouncing motion, not dissimilar to that of the aforementioned butterflies.  

03 Treasured – A rush of emotion as father of the bride sees his little girl transformed into a beautiful young woman. The space between father and bride show the move to independence while the symmetry of the image highlights the shared emotion, empathy shown by the mirrored gestures. I wonder if, in the midst of all this emotion, the bride is kicking herself for letting the makeup artist leave earlier.


04 In love – Of all emotions felt during a wedding, the one thing we hope to feel is in love. Taken the second the bride looks up at the groom to say her vows, her love for him is clearly visible. The strong leading line created by the couple’s gaze completes the circle made by their held hands. Outside of this circle, nothing matters. The black and white finish enables greater focus on the lines created which I feel are essential to this image.

05 Overwhelmed – In stark contrast to the previous image, this image has everything going on; people taking photos, scrabbling to get a good position while others chat and tend to children. The vibrant colours and strong diagonal lines add to the heady, fast paced feel of the shot. The swift flip from only couple in the room, to A-list celebrity is a fine example of the rollercoaster of madness this day can become.


06 Homicidal – Taken in good humour, yet representative of the ‘Bridezilla’ effect; this image is a reminder to not let wedding pressures get on top. There are several elements to this image which appeal to me, not just that it sums up their relationship to a tee. The blues and greens against the wooden windows, along with the tilted frame evoke a feeling of being on a ship; a bride pirate jumps aboard, threatening to behead the startled groom. The myriad of diagonal lines flowing in all directions create fast flowing movement, slightly slowed by the calming colour scheme. 

07 Calm – If there’s one piece of advice I’d give to any couple, it would be to steal a few moments alone. Having taken a short walk to the marina, the bride and groom took a break while I photographed the children. As I turned, I noticed them sitting on a bench looking so peaceful and comfortable together, in a world of their own. I could imagine a similar shot of them in fifty years time, sitting on a seafront bench eating fish and chips. This image symbolises a lifelong marriage, the feelings of stability are enhanced by the strong horizontal lines while the clear, white space reflects the purity of the union.


08 Adored – What makes a woman feel more adored than a good old smooch? The wall creates a textured backdrop while providing warm, red tones to contrast with the blue suit and blonde hair.  

 

09 Contented – The day is almost done and the pressure is off, time to chill out and enjoy the evening. Although the bride is not looking at the groom, their body language shows togetherness and quiet content. Of all the images in the set, this feels the most like a snapshot but I feel that this is part of its charm. I have left a slight tilt to the image, partly to enhance this feeling but also to retain some movement in the frame.  

10 United – One of the last shots of the day as we made the most of the colourful night lighting; the pink tinges to the bridal gown and golden glow warming the cooler, evening shades. A slight underexposure brings out the gown’s detail. Although the couple are facing away from the camera, their unity is shown in their body language. The lightship symbolises a beacon of hope as they look forward to a long and happy marriage.

 
Photographing this wedding was one of the most exhilarating tasks I have ever undertaken; my passion for photography, a love of working with people and getting caught up in the emotion of the day made for quite a heady mix. The pressures of wedding photography have put me on a steep learning curve this year with differing locations, changeable lighting conditions and the desire to represent a momentous occasion with outstanding images, both technically and emotionally. I hope that as my technical skills continue to develop, so does my ability to be in the moment, capturing all that it embodies; a vital ingredient of all great images.
 
Links:
 


 

Rain

Project: a single image for a magazine cover on one subject: rain.

When I first saw this title, I thought it would be easy – I’m always out in the rain and often enough, taking photos. The difficulty I had was the fact that rain means so many things to me; puddle jumping with the kids, fitness training, that pit-pat sound, fresh smelling grass, holidays, mountains, forests, sitting under trees watching the world go by and then it hit me. What do all these things have in common? What is the one thing that always follows a day out in the rain?
Washing!
Don’t get me wrong, sometimes we dress appropriately for the weather but sometimes we just forget. So, the photo I have chosen to use for this exercise sums up what rain means to me – an inappropriately dressed, dripping wet walk home.
 
I suppose the question is does this fit the criteria? Is this a single, strong, attractive photograph that leaves no-one in doubt about the subject? There’s only one way to find out:
Facebook! Back soon...
............................
So I uploaded the photograph to Facebook with the request; 'in one word, describe what this image symbolises to you'.

The responses I’ve got were: soggy, Blackpool, damp, puddles, homeless, childhood, carefree, liberated, cold, autumn, rain-walk, squelch, buggered, croc, coffee, slipshod and British summer. A couple of people just said Amber - they know her pretty well.
There are a couple of weird and wonderful responses but I think most people got the gist of it, there are a quite a few words to do with weather and wetness thrown in so I'm happy to say that... I'm happy with that! :-)