Ty – who goes by the Instagram handle @justanotherdayin – is known for her beautiful pictures and stunning photographs. Join us as we take a look at her journey through London!
South Bank, London
It was a warm day in August, a typical Friday afternoon in London. All around me, people are briskly walking by – towards, away, above and below – traversing the multilayered landscape of the South Bank. The sounds of the passing traffic on Waterloo Bridge surround me, interspersed with the distant chatter of children shrieking in delight and laughter.
And then the rain. It arrives in torrents, thunder rumbling and gusts of wind so strong the bus shelter I sought refuge in is rendered meaningless. A lone cyclist braves the sudden downpour, soldiering through the howling wind and pounding rain. And just as quickly as it arrived, the rain stopped. The brilliant sunshine heralds the return of crowds to the streets.
Amidst the bustle, a woman stops at the foot of the steps, gazing into the far distance. She is alone for the moment, temporarily deserted by the rushing masses. Is she looking towards Waterloo Bridge, waiting to be joined by others? Or perhaps just a pause to enjoy the sun?
National Theatre, London 2017 (75mm telephoto lens)
In the distance, laughter and music filter through. An impromptu performance by a group of teenagers taking shelter from the rain, beneath the overhanging terraces of the National Theatre. Choreographing the steps to their dance, busy movement along the brutal landscape. Behind me, peals of laughter and excited shrieks ring out, of children playing in the water sculpture ‘Appearing Rooms’ by Jeppe Hein.
Oblivious to the activities above, a woman quietly rushes past the rain slicked pavement of the plaza below. And in the distant corner of my eye, a man emerges onto the upper terrace, camera in hand, to capture the activity on Waterloo Bridge. As I descend to the busy entrance plaza, the cast silhouette of a woman above catches my eye, framed by the tectonic geometry of the National Theatre. The textures of its brutal architecture revealed and concealed by the harsh light of the setting sun.
National Theatre, London 2017 (15mm wide lens)
National Theatre, London 2017 (75mm telephoto lens)
Such is the everyday scene unfolding on a walk in London. A stroll through the rich environs of the South Bank, in search of light and stories untold. A dérive to uncover new perspectives, chance encounters, textures and even sounds; to consider a familiar place anew.
Photography is a pursuit, an unceasing search for moments of light and darkness, for the narratives yet to be revealed and for the memories they may evoke. I am not a photographer, nor do I seek to be one. Rather, it is an escape for me, where I am free to establish the boundaries of my exploration, independent of constraints that others may impose. My images seek only to please an audience of one – myself. It is an unfolding personal study of multiple possibilities, where disparate moments in time may be woven into a wider narrative that I hope will transcend geography and time.
Appearing Rooms by Jeppe Hein, Royal Festival Hall, Hayward Gallery, London 2017 (75mm telephoto lens)
London 2017 (75mm telephoto lens)
Many of us reside in a world surrounded by a constant torrent of stimuli, both visual and sound. Amidst the cacophony, I find myself drawn to explorations of light, shadows and daily encounters. Of the moments I capture, I strive to express what each can be, beyond what it is.
I was recently asked – What drives you in your photography? What ideas, feelings, or concepts do you seek to communicate through your images? The truth is – I don’t know, yet. And perhaps, I may never know. The only certainty I have is that I am captivated by images which establish order within chaos, which convey a sense of movement and depth, and above all, ones capable of generating multiple narratives. In essence, I simply shoot what catches my eye.
By only shooting with my phone’s camera, I found it easier to quickly respond to events around me, and further, the level of anonymity afforded often enables me to remain an undetected observer by those I chance upon. I believe it is important to remain unnoticed when shooting, as it is the unguarded moments – of people lost in their reveries – which most reveals.
As Saul Leiter puts it best, “I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.”
With the OOWA lenses, I am most excited by the ability to capture more detail in each shot (both wider and closer), broadening the scope of my explorations. In particular, I favour using the 75mm telephoto lens, with its ability to compress the intermediate and isolate the peripheral. However, the downside to shooting with them is I am now frequently stopped by people intrigued by the lenses!
Beyond looking at art, cinema and images created by others; words – the imagery and sensations they evoke – are crucial for me in considering how I take a photograph. In a conversation between Henri Cartier-Bresson and Alain Desvergnes (‘The Main Thing Is Looking’ ,1979), they discuss the rhythm in his images, how it establishes a specific visual order much influenced by his love of painting. That word – rhythm – it alone is pure inspiration for me and so richly evocative of multiple interpretations.
And now, as night falls and darkness descends, neon lights replacing the brilliant sunshine moments before, with my phone in hand I venture forth in search of further light and stories yet to be revealed.
In the end, as Saul Leiter says, ‘ I don’t have a philosophy. I have a camera ‘
Ty shot all the images above with the OOWA 15mm wide angle and 75mm telephoto lenses.