Responding to an idea put forward during a webinar, and incorporating my research and responses to the work of Kohei Koshiyuki, my next shoot introduced the concept of voyeurism more succinctly by the use of multiple view points into my work. I used myself and two models for this shoot. I set up the first shot not simply to be a part of this group of photos, but as an image in its own right, as with the rest of my work I had found this location and knew I needed to shoot here, this woodland is just on the edge of a estate, and runs alongside a river and a motorway. The space in the centre point of multiple merging pathways and walks, during the day frequented by dog walkers, joggers and the walking commuters. By night it is empty, though discarded sleeping backs and rubbish speak to the possible presence of others. We shot here at twilight, placing my model in the centre point of three converging pathways, I had originally intended for this model to be masked, however the masks were not available to us on this day (this may call for a reshoot if time allows). I am happy with the final image, the subject is seen to be stationary, and stares into the bushes, transfixed on some entity unknown to the viewer, the lighting the narrative return to the sense of uncanny I have been exploring previously. Meanwhile, in the next image we see a view from above, of the photographer shooting this scene. and finally, a mobile phone photos of another photographer in the bushes above. While there are only three figures here, the intention is that there are four in the narrative, it should be clear from the visual style of the first two, that the images are linked, and the photographer above is involved with those on the ground. But there must be a third entity, watching all three, who has captured the photographer at the top of the hill shooting downwards on another camera.
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