Illustrated Project Research Proposal

In Search Of Dark Skies

Robert Davies Falmouth University M.A Photography

PHO710 Positions And Practice

Illustrated Research Project Proposal

1

Fig.1: Davies 2022. In Search of Dark Skies, No. 1.

Contents

Project Overview

3

Objectives, Concerns and Themes

5

Progress

9

Visual Strategies

13

Development

15

Appendices

22

Fig.2: Davies 2022. In Search of Dark Skies, No. 2.

2

Project Overview

Fig.3: Davies 2022. In Search of Dark Skies, No. 3.

3

Today, over half the world’s population live in cities.

According to research from the UN, 2.5 billion more people will be living in cities by 2050.[1] Focusing on this exponential anthropogenic growth, I have begun documenting urban densification and the resultant impact of artificial light. Light pollution, an eco-marker of overpopulation and subsequent urban expansion is:

‘one of the most chronic environmental perturbations on Earth.’ [2] Singapore was named the country with the worst level of light pollution in the world - with a pollution level of 100 per cent.[3] As the city-state in which I live, I am well placed geographically to document how we are losing our connection to night-time skies:

“the tapestries into which our ancestors wove their star-studded stories, timed the planting and harvesting of crops, and deduced the physical laws governing the cosmos.” [4] Fig.4: Davies 2022. In Search of Dark Skies, No. 4.

1. Source: UN News. Available at: https://www.un.org/en/desa/around-25-billion-more-people-will-be-living-cities-2050-projects-new-un-report [accessed 8 April 2022].

2. DRAKE, N. 2019. Our Nights Are Getting Brighter, And Earth Is Paying The Price. Nationalgeographic.com. Available at: https://www.nationalgeographic.com/science/2019/04/nights-are-getting-brighter-earth-paying-the-pricelight-pollution-dark-skies [accessed 28 March 2022].

3. See Appendix F, (page 33).

4. Refer to footnote [2] above.

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Objectives, Concerns and Themes

Fig.5: Davies 2022. In Search of Dark Skies, No. 5.

5

Objectives

1. To document and raise awareness of the detrimental effects light pollution has on both humans and the environment in Singapore.[4] 2. To develop my own photographic practice both technically and theoretically.

3. To build collaborative relationships with other artistic practitioners, particularly musicians and sound engineers with whom I can explore the relationship between visual representations and sonic environments to amplify the purpose of this project.[5] 4. To explore a range of different photographic techniques and formats that are relevant to the project. For example, large format pinhole photography to capture the errant light pollution in and around the city.

5. To create an insightful, purposeful and inspiring body of photographic research that can be built upon by other practitioners in the future.

Fig.6: Davies 2022. In Search of Dark Skies, No. 6.

4. The ‘city-in-a-garden’ has paid a price for being a metropolitan hub, in hopes of attracting tourists at the expense of not just human health, but also on local biodiversity. The beauty of modernity comes at an ugly cost.

More information available at: https://www.independent.co.uk/arts-entertainment/photography/singapore-light-pollution-stars-lost-urban-environment-a8968931.html [accessed 25 February 2022].

5. As Barthes argues that words provide ‘anchorage’ when used in combination with images , I would like to explore whether music and image have a similar relationship.

6

Concerns

1. The representation of nature. Do we need to continue to show the beauty of nature? We can’t pretend anymore that everything is lovely. Is it responsible to show just pretty animals in an idyllic landscape? Must we now show the threats as well? To what extent is photography a trusted medium to communicate what is happening to our environment?

2. Objectivity and subjectivity. The question of how to react to, and frame, the sensitive situations we may be confronted with when documenting environmental issues is an important one. Should photographers endeavour to remain objective, or is it inevitable that the work will be coloured by personal views?

4. Sustaining an ethical practice. When exploring an environmental theme or subject, a photographer can be seen to assume a set of moral standards or beliefs. To what extent should my practice conform to these standards during and beyond this project?

5. The paradox of sustainability. Some argue that consumer-oriented societies are socially and ecologically self-destructive.[6] Therefore the development of civilisation is inherently unsustainable. How does my practice and this project address this concern?

Fig.7: Davies 2022. In Search of Dark Skies, No. 7.

6. KEVLAR, Marlon. 2014. Eco-Economics On The Horizon. Green Score. [A whitepaper that examines the mindset required by civilization if humanity is to achieve sustainability with the biosphere].

Available at: https://greenscore.eco/articles/eco-economics-20141013 [accessed 31 March 2022].

7

Themes 1. The symbolism of darkness and light. Whilst this project is concerned with the effect of light on both us and the environment, there is also a deeper symbolism and theme concerning the relationship of darkness and light:

“On a theological level, we see the dichotomy between light and darkness–good and evil–in creation narratives across all cultures.” [7] This project subverts the traditional view of light being the creative, positive, illuminating force in the universe and darkness as it’s binary opposite, a force which extinguishes, eclipses and swallows.[8] Our natural environment requires darkness to the same extent as creation narratives required illumination. Not all light is equal.

2. The relationship between art and science. Both science and art are fundamentally concerned with the exploration and discovery of the unknown.

In science, you’re exploring and trying to understand something out in the external world. In art, the exploration is internal—it’s a personal journey.

Where does my photographic practice fit within such definitions?

3. My relationship to nature. Nature has always been loved and recorded by artists and whilst this project provides me with an escape from the pressure of modern urban living, the photographs reflect an alienation from nature and a fear of the unknown that C.S Lewis referred to as the ‘Numinous’.[9]

Fig.8: Davies 2022. In Search of Dark Skies, No. 8.

7. ALEXANDER, J.A.P. 2015. Perspectives on Place. Bloomsbury.

8. ARAS (Archive for Research in Archetypal Symbolism). 2010. The Book of Symbols. Reflections on Archetypal Images. Tascher.

9. The word ‘Numinous’ was derived in the 17th century from the Latin numen, meaning ‘a deity or spirit presiding over a thing or space’. It describes the power or presence or realisation of a divinity.

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Progress

Fig. 9: Davies 2022. In Search of Dark Skies, No. 9.

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Fig. 10: Illustrated Light Pollution Map of Singapore.

Using online tools such as www.lightpollution.info, an interactive world light pollution map [10] and my knowledge of the island and it’s topography, I have focused my initial work on areas that emit the highest levels of light pollution such as the trade, transport and finance hubs.[11]

< Less light

BORTLE SCALE

More light >

Areas with sources of highest light pollution 1

2

3

4

5

6

7

8

9

10. www.lightpollutionmap.info is a mapping application that displays light pollution related content over Microsoft Bing base layers (road and hybrid Bing maps). The primary use was to show VIIRS/DMSP data in a friendly manner, but over many years it received some other interesting light pollution related content such as SQM/SQC measurements, World Atlas 2015 zenith brightness, almost real-time clouds, aurora prediction and IAU observatories features.

11. Areas of light pollution are gauged using the Bortle Scale a nine-level numeric scale that measures the night sky’s brightness of a particular location. It quantifies the astronomical observability of celestial objects and the interference caused by light pollution. See Appendix G, (P.34) for more information.

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I have so far undertaken several exploratory night shoots in areas exposed to high levels of sky-glow and glare. [12]

Fig.11: Davies 2022. In Search of Dark Skies, No. 10.

Fig.14: Davies 2022. In Search of Dark Skies, No. 13.

Fig.12: Davies 2022. In Search of Dark Skies, No. 11.

Fig.15: Davies 2022. In Search of Dark Skies, No. 14.

Fig.13: Davies 2022. In Search of Dark Skies, No. 12.

Fig.16: Davies 2022. In Search of Dark Skies, No. 15.

12. The following photographs are all taken at night, and are lit solely by artificial light. This light is a combination of different sources of light pollution such as Clutter, Light Trespass, Sky-glow and Glare. For more information on types of light pollution visit: https://en.wikipedia.org/wiki/Light_pollution.

11

I have been exploring Robert Adams three ‘verities’- geography, autobiography and metaphor in this project.[13] I have analysed one of my images in this way in Appendix E (P.32).

Fig.17: Davies 2022. In Search of Dark Skies, No. 16.

Fig.18: Davies 2022. In Search of Dark Skies, No. 17.

Fig.20: Davies 2022. In Search of Dark Skies, No. 19.

Fig.21: Davies 2022. In Search of Dark Skies, No. 20.

13. Adams proposes that the artist must be a geographical mediator that helps the viewer discover the meaning of a place.

Fig.19: Davies 2022. In Search of Dark Skies, No. 18.

Fig.22: Davies 2022. In Search of Dark Skies, No. 21.

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Visual Strategies

Fig.23: Davies 2022. In Search of Dark Skies, No. 22.

13

Continuing with my night-time dérives, I plan on experimenting with the following mediums and techniques to represent the effects of light pollution:

Fig.24: Davies 2022. In Search of Dark Skies, No. 23.

Fig.25: An ONDU 4x5 Pinhole Camera.

Fig.26: Davies 2022. In Search of Dark Skies, No. 24.

Fig.27: A Chlorophyll Print.

Monochrome sensor.

A monochrome sensor features no colour filter array. With no interpolation required, only the pure light levels are captured and rendered.

With this sensor I am able to record traces of errant light that would otherwise be invisible to the human eye.

4x5 Pinhole photography.

There seems an authenticity and appropriateness in this method of exposing 4x5 Harman Direct Positive Paper to various sources of light pollution. With this method, you are not capturing a digital representation of an image, you are capturing the actual (artificial) light in the moment.

Tungsten balanced film.

I intend to explore the effects of light pollution on colour 120 film, specifically Cinestill 800T which is balanced for night-time shooting with artificial light and ideal for capturing the halation emitted by these sources. [14]

Chlorophyll prints.

The chlorophyll process is an organic alternative photography process. By using the vegetation in the rain forest as the medium for printing my project, I can use nature itself as an authentic physical medium and explore the depth of meaning this could add to this project.

14. By the end of 2022, street lamps in Singapore will be replaced light-emitting diode lights, or more commonly known as LED, as it can improve energy efficiency by 25%. However, this comes with a cost. LED lights often emit blue light, which has the shortest wavelength in the visible light spectrum but also the highest in energy. Blue light is also found in the sunlight to regulate the circadian rhythm. However, when exposed to it excessively at night (due to street lights, television, laptop and phone screens), this could possibly affect our circadian rhythm. The circadian rhythm is responsible for many physiological processes that include hormone production and cell regulation. When exposed to blue light even at night, our circadian rhythms would be disrupted and this has been linked to health issues such as depression, insomnia, cardiovascular disease, and cancer.

14

Development

Fig.28: Davies 2022. In Search of Dark Skies, No. 25.

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Indicative Schedule PHO730: Sustainable Strategies

Twice weekly: identify and shoot subjects and locations that are both sources of light pollutions or affected by it (see Appendix D, P.31).

Gain permission to shoot on private/state land, reservoirs and other rural locations.

Begin explorations with 4x5 pinhole photography.

Research and experiment with methods of eco-friendly film processing and printing.

Development/redesign of my own website.

Incorporate video into my practice / undertake course in Adobe Premiere Pro.

Fig. 29: Indicative Schedule.

PHO740: Collaboration & Professional Development

PHO720: Informing Contexts

Twice weekly: identify and shoot subjects and locations that are both sources of light pollutions or affected by it.

Twice weekly: identify and shoot subjects and locations that are both sources of light pollution or affected by it.

Identify potential collaborative relationships with composers and audio engineers.

Begin research of audio-visual projection methods for FMP.

Establish collaborative relationship with Singapore Night Safari (as part of topical research on the effect of light pollution on wildlife).

Establish collaborative relationship with National Parks Board (NParks) of Singapore.

Undertake large format photography course.

Begin explorations with Chlorophyll printing.

Begin ‘teaser’ posts/stories on Instagram to build anticipation for my Final Major Project.

Contacting potential media partners to create media awareness around my research project.

Reflect on and review work produced to-date to formalise final story.

Contextualise the work within latest photographic theory, researching latest relevant practitioners and how my work relates to or challenges current conventions.

Ongoing Reflecting critically on my work and maintaining the cadence of my Critical Research Journal Seeking feedback from peers and tutors Researching the topic of my research project Attending exhibitions, collecting photobooks and viewing websites & zines to supplement the course materials Reading books on course reading list Continuing development of my personal website Posting on my Instagram account according to my content calendar (TBD) Location recces

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Costs*, Resources and Skills Fig. 30: Costs, Resources and Skills

Materials & Equipment

Total = $1,656

Skills

Total = $979

$300

10 x Cinestill 800T 120 Film @ $30 each

$80

Darkroom ‘Refresher’ Course

$271

1 x Ondu 4x5 Pinhole Camera

$700

Large Format Photography Course (3 days) SIPF̂

$448

4 x Harman 4x5 Direct Positive Paper @ $112/pack (25 sheets)

$199

Adobe Premiere Pro Fundamentals Course (2 days) @ Singapore Polytechnic

$130

2 x Ilford 2150 XL Developer/Fixer Black and White Print Chemicals Kit (3 Liter)

$250

10 x 120 Film Processing (C41) + Scanning

$120

Travel to Central Catchment Nature Reserve, 20km on MRT/Bus - x2 monthly

$61

100 x Acetate Transparencies

$50

Travel to Lab for film processing, 15km on MRT /Bus - x2 monthly

$76

1 x Canon Ink Cartridges (value pack)

$74

Travel to Night Safari, 25km on MRT/Bus - x1 monthly

$120

10 x Fuji Instax Wide @ $12 per pack

Travel ̊

Misc

Media & Subscriptions

Total = $1,196

Total = $244

$20

2 x Mosquito Repellent

$96

Website Hosting/Maintenance (per year)

$100

Servicing of lenses/cameras

$300

Format Online Portfolio Subscription (per year)

$100

Stationary

$800

Adobe Creative Suite + Storage/backup (per year)

$150

Admission fees for National Parks

Total = $370

Grand Total = $4,445 Approx: £2,496

* All costs are in Singapore Dollars (SGD).

̊ Total costs have been projected for the next 12 months.

̂ Singapore International Photography Festival.

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Bibliography Sources consulted to date: ADAMS, Robert. 1996. Beauty in Photography. New York: Aperture.

ALEXANDER, J.A.P. 2015. Perspectives on Place. Bloomsbury.

ARAS (Archive for Research in Archetypal Symbolism). 2010. The Book of Symbols. Reflections on Archetypal Images. Tascher.

BARTHES, Roland. 1977. Image-Music-Text. New York: Hill and Wang.

BERGER, John. 1972. Ways of seeing. London: Penguin.

BORTLE, John E. 2001. Gauging Light Pollution: The Bortle Dark-Sky Scale. Sky & Telescope. Sky Publishing Corporation [accessed 29 March 2022].

CARTIER-BRESSON, Henri. 1952. The Decisive Moment. Simon and Schuster.

DEBORD, Guy. 1955. Introduction to a Critique of Urban Geography. Les Lèvres Nues #6 [Translated by Ken Knabb].

DRAKE, N. 2019. Our Nights Are Getting Brighter, And Earth Is Paying The Price. Nationalgeographic.com. Available at: https://www.nationalgeographic.com/science/2019/04/nights-aregetting-brighter-earth-paying-the-price-light-pollution-dark-skies [accessed 28 March 2022].

FALCHI, Fabio; CINZANO, Pierantonio; DURISCOE, Dan; KYBA, Christopher C. M.; ELVIDGE, Christopher D.; BAUGH, Kimberly; PORTNOV, Boris; RYBNIKOVA, Nataliya A.; FURGONI, Riccardo. 2016. Supplement to: The New World Atlas of Artificial Night Sky Brightness. V. 1.1. GFZ Data Services. Available at: https://doi.org/10.5880/GFZ.1.4.2016.001 [accessed 30 March 2022].

HALPERN, Gregory. Documentary Sur/Realism—Defining Documentary. Magnum Photos. Available at: https://www.magnumphotos.com/learn/course/gregory-halpern-documentary-surrealism [accessed 30 March 2022].

HEIFERMAN, Marvin. 2012. Photography Changes Everything. New York: Aperture.

KEVLAR, Marlon. 2014. Eco-Economics On The Horizon. Green Score. Available at: https://greenscore.eco/articles/eco-economics-20141013 [accessed 31 March 2022].

LA GRANGE, Ashley. 2005. Basic Critical Theory for Photographers [Kindle DX edition]. Focal Press. Available from Amazon.com.

LEVITIN, Daniel J. 2007. This Is Your Brain on Music: The Science of a Human Obsession. Dutton Penguin.

LEWIS, C.S. 2001. The Problem Of Pain. HarperCollins.

O’ROURKE, Karen. 2016. Walking and Mapping: Artists as Cartographers. Cambridge: The MIT Press.

SONTAG, Susan. 1978. On Photography. London: Allen Lane.

SZARKOWSKI, John. 1978. Mirrors and Windows: American Photography since 1960 [Press Release]. Available at http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/5624/ releases/MOMA_1978_0060_56.pdf?2010 [accessed 26 January 2022].

UN NEWS. Available at: https://www.un.org/en/desa/around-25-billion-more-people-will-be-living-cities-2050-projects-new-un-report [accessed 8 April 2022].

WOON, Wallace. 2019. Singapore stars lost in night sky as light pollution shines the brightest. Available at: https://www.independent.co.uk/arts-entertainment/photography/singapore-lightpollution-stars-lost-urban-environment-a8968931.html [accessed 25 February 2022].

YEE A.T.K, CORLETT, Richard T, LIEW S.C, TAN, Hugh T.W. 2011. The vegetation of Singapore―an updated map. Gardens’ Bulletin Singapore 63 (1 & 2): 205–212.

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Bibliography Sources to be consulted: ABEL-HIRSCH, Hannah. 2018. Photography and the environment: Three perspectives. 1854 Photography. Available at: https://www.1854.photography/2018/07/ what-role-does-photography-play-in-the-current-environmental-crisis [accessed 20 April 2022].

ADAMS, Ansel. 1978. Polaroid Land Photography. New York Graphic Society.

ADAMS, Ansel. 1956. Artificial Light Photography. New York: Morgan and Morgan.

BARTHES, Roland. 1988. Camera lucida : reflections on photography. New York: The Noonday Press.

BOGARD, Paul. 2013. The End of Night: Searching for Natural Darkness in an Age of Artificial Light. North America: Little, Brown and Company.

BRANDT, Nicola. 2021. Landscapes between Then and Now (Photography, Place, Environment). Routledge.

BULL, Stephen. 2009. Photography. Routledge.

CONOHAR, Scott. 2022. Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution. Routledge.

COTTON, Charlotte 2014. The Photograph as Contemporary Art. Thames & Hudson.

DEAKIN, Roger. 2008. Wildwood: A Journey Through Trees. London: Penguin.

ELKINS, James. 2011. What Photography Is. Routledge.

HEIFERMAN, Marvin. 2019. Seeing Science: How Photography Reveals the Universe. New York: Aperture.

HIGGINS, Jackie. 2013. Why It Does Not Have to Be in Focus: Modern Photography Explained. London: Thames & Hudson.

LEVI-STRAUSS, David. 2020. Photography and Belief. New York: David Zwirner.

MAITLAND, Sara. 2012. Gossip from the Forest. London: Granta.

MAUGHAN-CARR, Edward. 2019. The Ecology of Grain: An Ecological Analysis of Gelatin in Photographic Film. Thesis for: MA Contemporary Art Practice. Available at: https://www.researchgate.net/publication/341515258_The_Ecology_of_Grain_An_Ecological_Analysis_of_Gelatin_in_Photographic_Film [accessed 21 April 2022].

MISRACH, Richard. 2020. On Landscape and Meaning. New York: Aperture.

MIZON, Bob. 2012. Light Pollution: Responses and Remedies. Springer.

OLPE, Peter. 2012. Out of Focus: Pinhole Cameras and their Pictures. Niggli Verlag.

ROGERS, Brett. 1994. Documentary Dilemmas Aspects Of British Documentary Photography 1983-1993. London: The British Council.

SCHIVELBUSCH, Wolfgang. 1995. Disenchanted Night: The Industrialization of Light in the Nineteenth Century. University of California Press.

SEAWRIGHT, Paul. 2001. The Forest. [Edited by Christine Redmond and Val Williams]. Publisher unknown.

SEELIG, Michelle I. 2015. Communicating the Environment Beyond Photography. Peter Lang Inc., International Academic Publishers.

TUFTE, Edward R. 2001. The Visual Display of Quantitative Information. Graphics Press.

WELLS, Liz. 2011. Land Matters: Landscape Photography, Culture and Identity. London: Routledge.

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Figures Fig. 1: Robert DAVIES. 2022. In Search of Dark Skies, No. 1. Private Collection: Robert Davies.

Fig. 2: Robert DAVIES. 2022. In Search of Dark Skies, No. 2. Private Collection: Robert Davies.

Fig. 3: Robert DAVIES. 2022. In Search of Dark Skies, No. 3. Private Collection: Robert Davies.

Fig. 4: Robert DAVIES. 2022. In Search of Dark Skies, No. 4. Private Collection: Robert Davies.

Fig. 5: Robert DAVIES. 2022. In Search of Dark Skies, No. 5. Private Collection: Robert Davies.

Fig. 6: Robert DAVIES. 2022. In Search of Dark Skies, No. 6. Private Collection: Robert Davies.

Fig. 7: Robert DAVIES. 2022. In Search of Dark Skies, No. 7. Private Collection: Robert Davies.

Fig. 8: Robert DAVIES. 2022. In Search of Dark Skies, No. 8. Private Collection: Robert Davies.

Fig. 9: Robert DAVIES. 2022. In Search of Dark Skies, No. 9. Private Collection: Robert Davies.

Fig. 10: Illustrated Light Pollution Map of Singapore. February 2022. Available at www.lightpollution.info [accessed 3 March 2022]. Graphics by the author.

Fig. 11: Robert DAVIES. 2022. In Search of Dark Skies, No. 10. Private Collection: Robert Davies.

Fig. 12: Robert DAVIES. 2022. In Search of Dark Skies, No. 11. Private Collection: Robert Davies.

Fig. 13: Robert DAVIES. 2022. In Search of Dark Skies, No. 12. Private Collection: Robert Davies.

Fig. 14: Robert DAVIES. 2022. In Search of Dark Skies, No. 13. Private Collection: Robert Davies.

Fig. 15: Robert DAVIES. 2022. In Search of Dark Skies, No. 14. Private Collection: Robert Davies.

Fig. 16: Robert DAVIES. 2022. In Search of Dark Skies, No. 15. Private Collection: Robert Davies.

Fig. 17: Robert DAVIES. 2022. In Search of Dark Skies, No. 16. Private Collection: Robert Davies.

Fig. 18: Robert DAVIES. 2022. In Search of Dark Skies, No. 17. Private Collection: Robert Davies.

Fig. 19: Robert DAVIES. 2022. In Search of Dark Skies, No. 18. Private Collection: Robert Davies.

Fig. 20: Robert DAVIES. 2022. In Search of Dark Skies, No. 19. Private Collection: Robert Davies.

Fig. 21: Robert DAVIES. 2022. In Search of Dark Skies, No. 20. Private Collection: Robert Davies.

Fig. 22: Robert DAVIES. 2022. In Search of Dark Skies, No. 21. Private Collection: Robert Davies.

Fig. 23: Robert DAVIES. 2022. In Search of Dark Skies, No. 22. Private Collection: Robert Davies.

Fig. 24: Robert DAVIES. 2022. In Search of Dark Skies, No. 23. Private Collection: Robert Davies.

Fig. 25: Unknown maker. No title [An ONDU 4x5 Pinhole Camera]. Available at: https://ondupinhole.com/products/4x5-large-rise [accessed 19 April 2022].

Fig. 26: Robert DAVIES. 2022. In Search of Dark Skies, No. 24. Private Collection: Robert Davies.

Fig. 27: Unknown maker. No title [A Chlorophyll Print]. Available at: https://demaakbarewereld.wordpress.com/tag/afdruk [accessed 13 April 2022].

Fig. 28: Robert DAVIES. 2022. In Search of Dark Skies, No. 25. Private Collection: Robert Davies.

Fig. 29: Indicative Schedule. 2022. Graphics by the author.

Fig. 30: Costs, Resources and Skills. 2022. Graphics by the author.

Fig. 31: Robert DAVIES. 2022. In Search of Dark Skies, No. 26. Private Collection: Robert Davies.

Fig. 32: My Carbon Footprint. 2022. Graphics by the author.

Fig. 33: How I compare. 2022. Graphics by the author.

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Figures Fig. 34: My Estimated Research Project Carbon Footprint. 2022. Graphics by the author.

Fig. 35: Robert DAVIES. 2022. In Search of Dark Skies, No. 27. Private Collection: Robert Davies.

Fig. 36: Richard MISRACH. 1985. Desert Fire #249. Private Collection: Richard Misrach.

Fig. 37: Martina LINDQVIST. 2010. Untitled 1 [from the series ‘A Thousand Little Suns’). Private Collection: Martina Lindqvist.

Fig. 38: Paul SEAWRIGHT. 2001. Ditch [from the series ‘The Forest’]. Private Collection: Paul Seawright.

Fig. 39: Possible Scenarios and Subject Matter. 2022. Graphics by the author.

Fig. 40: Robert DAVIES. 2022. In Search of Dark Skies, No. 28. Private Collection: Robert Davies.

Fig. 41: FALCHI, Fabio; CINZANO, Pierantonio; DURISCOE, Dan; KYBA, Christopher C. M.; ELVIDGE, Christopher D.; BAUGH, Kimberly; PORTNOV, Boris; RYBNIKOVA, Nataliya A.; FURGONI, Riccardo. 2016. Supplement to: The New World Atlas of Artificial Night Sky Brightness. V. 1.1. GFZ Data Services. Available at: https://doi.org/10.5880/GFZ.1.4.2016.001 [accessed 30 March 2022].

Fig. 42: Robert DAVIES. 2022. Illustrated Bortle Scale [shot at East Coast Park in Singapore]. Photography and graphics by the author.

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Appendices

Fig.31: Davies 2022. In Search of Dark Skies, No. 26.

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Appendix A: Impact Assessment Plan Project narrative

I therefore feel it is essential to further align my practice with the ideologies my project promotes. As the threat of the climate crisis grows each day, and modern life sees the lines between work and life increasingly blurred, I believe we must strive for sustainability in all aspects of life, not just our professional practice.

A good place to start was by analysing my personal carbon footprint (Fig. 32) and how I compare to others in Singapore (Fig. 33).[16]

Holiday

My project is concerned with, amongst other things, the effect of light pollution on our planet and as such, intends to raise awareness of ‘one of the most chronic environmental perturbations on Earth’.[15] When exploring an environmental theme or subject, a photographer can be seen to assume a set of moral standards or beliefs. He/She could be seen as hypocritical if their practice and methods contradict the ethical or moral stance assumed in their work, undermiming their credibility.

Home

Fig. 33: How I Compare.

Commute Waste

Food

My CO2

8,201 kg CO2

Singapore Average

8,870 kg CO2

Sustainable Goal

3,000 kg CO2

Spendings

Fig.32: My Carbon Footprint.

15. DRAKE, N. 2019. Our Nights Are Getting Brighter, And Earth Is Paying The Price. Nationalgeographic.com. Available at: https://www.nationalgeographic.com/science/2019/04/nights-are-getting-brighter-earth-paying-the-pricelight-pollution-dark-skies [accessed 28 March 2022].

16. The Singapore average carbon footprint is the result of a questionnaire using the average eating, spending, commuting and traveling behaviour of Singaporeans. The sustainable goal is an estimate of the carbon emissions per capita that would keep global warming under 2°C.

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Appendix A: Impact Assessment Plan Travel (MRT)

Carbon budget

Fig. 34: My Estimated Research Project Carbon Footprint.

Travel (Bus)

Electricity*

My personal carbon footprint is just below the Singapore average. I have implemented several lifestyle choices that influence the processes and methods in my professional practice such as cycling and using public transport.

Whilst the topic of my research project is large in significance, the means by which I intend to produce it are small. As I already live in the most light polluted country/ city in the world, by default I have mitigated unnecessary air travel and accommodation by keeping the project parameters ‘local’.[17] Nevertheless, I have calculated a Carbon Footprint analysis to identify areas in which I can further reduce my carbon footprint and strive to uphold the values of this project (Fig. 34).[18] It is interesting to note how ‘Materials and Resources’ and ‘Online Media, Platforms and Cloud Storage’ will contribute the most CO2 to my project. Although the overall impact is not huge, I will endeavour to reduce it as detailed on the following page.

Online Media, Platforms and Cloud Storage

Materials and Resources

Total CO2 tonnes for this project = 0.7025

17. In a report by Adgreen entitles ‘The Industries Impact’, it is suggested the two biggest contributing factors to carbon emissions on a typical photographic shoot are travel and accommodation (especially where an ad agency is involved).

Available at: https://weareadgreen.org [accessed 20 April 2022].

18. For these estimations I used the carbon calculators carbonfootprint.com, pawprint.eco and footprint.wwf.org.uk. * Energy usage comes mostly under my home consumption - for example computer usage, digital file storage, battery charging etc. My home energy provider (SP power) provides 100% renewable electricity.

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Appendix A: Impact Assessment Plan Materials & resources

Transport & accommodation

Materials and Resources contribute the most to my carbon footprint.

The principal materials that will I use for my project are: cameras, film, lenses, batteries, a computer, an enlarger, developing chemicals, photographic enlarging paper, a printer, print paper, and printer ink (excluding materials for my FMP which is as yet TBD).

I love to walk and will continue to integrate dérives with my practice as I explore environments for this project.

To mitigate the impact in my own practice, I will employ the following methods: • Buy second-hand photographic equipment if needed to reduce wastage in camera manufacture.

• Unplug my devices to reduce energy drain.

• Use rechargeable batteries.

• Use solar powered charging methods.

• Use LED darkroom enlarger lamp for power efficiency.

• Buy ethically from companies who strive for environmental change.

• Sell, donate, re-purpose, or dispose of old equipment properly.

• Switch to environmentally-friendly photography products.

• Use best practices for film photography by using new breed of eco-friendly darkroom chemicals.[19] • Investigate cloud storage providers that power their data centers with a high percentage of renewable energy.

I regularly cycle to my shoot locations (weather permitting) and use a Tern folding bicycle[20] which allows me to take it on public transport if the weather is bad.

For both cycling and walking I use the expanding PCN (Park Connector Network) in Singapore to travel to my shoot locations.[21] I also intend to use public transport as a secondary option whenever possible.[22] Accommodation will not be required for this project, further reducing the projects carbon footprint.

19. For example - LegacyPro EcoPro Stop Bath which is designed to minimize water usage and chemical wastage. It’s also free of acetic acid, perfume, dye, EDTA, DTPA, metol, hydroquinone, borates phosphates, and known carcinogens and mutagen 20. For more information on Terns commitment to sustainability please visit: https://www.ternbicycles.com/sg/node/9 21. Singapore will increase its train network from 230km today to 360km by 2030. This will bring 8 in 10 homes within a 10-minute walk from a train station. By 2040, all public buses and taxis in Singapore will run on cleaner energy.

22. Singapore is already home to a comprehensive, 440km-long network of cycling paths. This number is set to triple by 2030, making it even easier to commute to work..

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Appendix A: Impact Assessment Plan Suppliers & partners I consciously choose photographic manufacturers, suppliers and partners that embrace sustainability whenever possible. My computer is made by Apple. I already have a Macbook Pro that uses recycled plastic, recycled tin, and recycled rare earth elements. [23] ONDU pinhole cameras are handcrafted using sustainable harvested Slovenian timber, and as a low form of technology drastically reduce the use of plastics, resins, metals, minerals, and toxic by-products during manufacture.

Using a simple hole as an aperture, the lack of a modern lens significantly reduces material and waste.

I have an Intrepid 4x5 enlarger made from ethically sourced wood, which also functions as a 4x5 camera if needed, and includes an LED enlarger light for greater power efficiency. It’s three-in-one functionality as enlarger, camera and ‘copier’ maximise efficiency and minimises the environmental impact of my equipment.

Mandai Wildlife Reserves (including the Night Safari) are a potential project partner. They have pledged to embrace sustainable best practices and work towards a carbon neutral destination by 2024, a road map which is governed by the four pillars of Resource Optimisation, Biodiversity Protection, Integration with Surroundings and Sustainability Advocacy.

As I undertake this project I will endeavour to ensure future suppliers and partners are committed to sustainable business practices.

23. Apple claims to be a carbon neutral business overall, and pledges to make every product carbon neutral by 2030.

Fig.35: Davies 2022. In Search of Dark Skies, No. 27.

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Appendix B: Risk Assessment Form

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Appendix B: Risk Assessment Form

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Appendix B: Risk Assessment Form

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Appendix C: Influential Practitioners The following photographers have influenced my project:

Fig.36: Misrach 1985. Desert Fire #249.

Fig.37: Lindqvist 2010. Untitled 1 (A Thousand Little Suns). Fig.38: Seawright 2001. Ditch. (The Forest).

Richard Misrach documents the devastating ecological effects of human intervention, industrial development, nuclear testing and petrochemical pollution on the natural world. His series Desert Cantos, comprises of pictures that explore the complex conjunction between mankind and nature. Otherworldly images of desert seas, rock formations and clouds are juxtaposed with unsettling scenes of desert fires, nuclear test sites, and animal burial pits.

Martina Lindqvist in her series A Thousand Little Suns, presents us with houses and buildings isolated in fields. They are shown at night, lit eerily and the source of the artificial light is unexplained. The uneasiness, and way she subverts light from a positive, creative power into a disturbing, isolating force could be seen as a metaphor for the struggle between nature and humanity.

Paul Seawright’s series The Forest is shot at night and lit by the amber glow of what we may assume are street lamps.

We see desolate roadside lay-bys, ditches, and car parks bordering the edge of a forest. By day, these spaces might be seen as ordinary, but by night, they take on a sinister tone. There is a division between what we can see - the trees, underbrush and roadside curbs and what doesn’t belong there (us). The place where nature and culture collide.

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Appendix D: Possible Scenarios & Subject Matter Directly connected with overpopulation, errant light pollution mortally affects migrating birds, fish, bats, sea turtles and other wildlife. It is also a contributing factor in the decline of insect populations, and consequently invaluable ecosystems. As such, I plan to focus shooting not only the sources of the problem but also its broader impact on people and biodiversity.[24] POSSIBLE SCENARIOS & SUBJECT MATTER Sources of problem

• Illuminated office buildings after work hours.

• Illuminated advertising displays.

• Public areas and walkways lit for the safety of pedestrians.

• Street lamps lining alleys, roads and expressways.

• Marina Bay ‘night’ golf course.

• Gardens by the Bay. • Trade, transport and finance hubs: - Tuas and Pasir Panjang container terminals.

- Changi airport.

- Marina Bay financial district.

Impact on People & Biodiversity

• Artificially lit landscapes - e.g., beaches. Dark beaches are becoming harder to find for animals such as sea turtles affecting their reproduction.

Also, Millions of young hatchlings die by heading in the wrong, dangerous urban direction each year due to light at night.

• Hormonally mediated effects of artificial light at night on human behavior and fitness.[25] • Eye diseases that may be attributed to the mixed sources of light often used in street lighting.[26] • Birds - which often collide with brightly-lit buildings.

Fig. 39: Possible Scenarios and Subject Matter.

24. The effects of light pollution are not only limited to the ‘natural’ world - it disrupts the human cicada rhythm, leading to significant physical and psychological problems that are only just beginning to be understood.

25. For more information visit: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5897701.

26. For more information visit: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3222423.

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Appendix E: Robert Adams Three ‘Verities’ In Fig. 40, we have geography - showing the border of Bukit Timah Nature Reserve, one of the few areas of primary rain forest left in the country.

We have autobiography - this was taken late at night on a dérive close to the reserve as I was seeking isolation and refuse from the relentless distractions of the city.

And we have metaphor - the image has an ominous silence and foreboding presence. The separation of subject from the photographer suggests a detachment from nature, a forest in retreat yet standing in defiance against the glare of the city. The trees almost appear to be going up in flames like columns of smoke foretelling their destruction in the conflict between nature and humanity.

Fig.40: Davies 2022. In Search of Dark Skies, No. 28.

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Appendix F: The Price of Modernity There is one ranking where Singapore does not want to be number one - the light pollution index in ‘The New World Atlas Of Artificial Night Sky Brightness’.

Most of us are familiar with air, water, and land pollution, but unaware that light itself can also be a pollutant.

This study shows that Singapore’s use of artificial light exceeds the level of light pollution tolerable per capita, with a pollution level of 100%.[27]

Enlargement of Singapore seen at the bottom tip of peninsular Malaysia.

Due to these immense levels, people in Singapore are unable to see 99.5% of all the stars present in the night sky unless they use an optical aid.[28]

Fig.41: Artificial Night Sky Brightness At Sea Level In The World.

27. FALCHI, Fabio; CINZANO, Pierantonio; DURISCOE, Dan; KYBA, Christopher C. M.; ELVIDGE, Christopher D.; BAUGH, Kimberly; PORTNOV, Boris; RYBNIKOVA, Nataliya A.; FURGONI, Riccardo. 2016.

Supplement to: The New World Atlas of Artificial Night Sky Brightness. V. 1.1. GFZ Data Services. Available at: https://doi.org/10.5880/GFZ.1.4.2016.001 [accessed 30 March 2022].

Robert Davies | Falmouth University | MA Photography | PHO710 Positions and Practice | Illustrated Research Project 28. DRAKE, N. 2019. Our Nights Are Getting Brighter, And Earth Is Paying The Price. Nationalgeographic.com. Available at: https://www.nationalgeographic.com/science/2019/04/nights-are-getting-brighter-earth-paying-the-price-light-pollution-dark-skies [accessed 28 March 2022].

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Appendix G: The Bortle Scale

8/9

Inner City Sky

7

Suburban / urban transition

6

Bright Suburban Sky

5

Suburban Sky

4

Suburban / Rural Transition

3

Rural Sky

2

Dark-Sky Site

1

Excellent Dark-Sky Site

Fig.42: Illustrated Bortle Scale.

The Bortle scale is a nine-level numeric scale that measures the night sky’s brightness of a particular location. It quantifies the astronomical observability of celestial objects and the interference caused by light pollution.[29]

On the Bortle scale, the whole of Singapore is rated at level 8/9. According to the The New World Atlas of Artificial Night Sky Brightness: “The possibility of seeing the Milky Way from home is precluded to all of Singapore” [30]

29. BORTLE, John E. 2001. Gauging Light Pollution: The Bortle Dark-Sky Scale. Sky & Telescope. Sky Publishing Corporation [accessed 29 March 2022].

30.. FALCHI, Fabio; CINZANO, Pierantonio; DURISCOE, Dan; KYBA, Christopher C. M.; ELVIDGE, Christopher D.; BAUGH, Kimberly; PORTNOV, Boris; RYBNIKOVA, Nataliya A.; FURGONI, Riccardo. 2016.

Supplement to: The New World Atlas of Artificial Night Sky Brightness. V. 1.1. GFZ Data Services. Available at: https://doi.org/10.5880/GFZ.1.4.2016.001 [accessed 30 March 2022].

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