Brighton’s ruined West Pier is one of the iconic landmarks of the South Coast. Certainly one of the most photographed and when I started my 365 Day Project, I made a resolution to try and avoid repeating the most cliched of the shots I’d seen. In fact I almost went out of my way to avoid shooting the damn thing!
No matter how many times a subject has been shot, there is always a different approach and it is worth taking the time to find that different shot because that’s what differentiates one photographer from another. There is nothing wrong with recreating shots with a view to understanding how they were done and in so doing mastering a technique, I’ve done that plenty of times, but I’ve tried not to publish those shots as a rule.
The reason the pier has become such an emblem is that it symbolises the best and worst of human nature. Even in ruins, the ironwork is beautiful and so far, resists the fiercest storms. The shape is instantly recognisable, even as here, when it is abstracted. The worst? The persistent rumours that the fire that destroyed it was started deliberately. Legend is that a speedboat was seen leaving the scene as the flames took hold. The identity of the arsonist has never been discovered and as long as there is no proof, there can be no accusation.
One of the challenges in landscape photography is to find a way to connect the land to its occupants. This is what elevates the best landscape photography above the biscuit tin class. West Pier does this at a stroke, the contrast that can be achieved by showing the ruin in the context of its surroundings is very powerful. The opposing forces of nature and architecture caught in perfect balance.
This shot was made with a Lee 10 stop “Big Stopper” filter around dusk at low tide. An exposure of a couple of minutes. The effect is to calm the ocean and the wreckage rises out of this preternatural stillness like a ghost ship, encrusted with barnacles and seaweed. The intent here was to stretch time, to show something that has been with us for years and to imply that it might just be here long after we’ve gone. I genuinely hope it is and during the last set of storms have fretted, hoping that they haven’t succeeded in bringing the old girl to her knees.
The final challenge I set myself was to show the pier with people. People playing, people watching or even photographing, the important thing was that they shouldn’t be interacting with me. I wanted to be the observer.
I chose to shoot at sunset again, the idea being to frame the participants in silhouette. This shot was one of about fifteen I took over a period of about twenty five minutes. I like the composition because there are distinct layers in the photograph and the pier is not the dominant figure, instead the eye is drawn from the couple in the foreground along the edge of the beach to the man playing with his dog in the middle. If anything, the dog is the dominant figure in the photograph and from there the eye can wander to the pier, with the sun directly behind it, silhouetted against a sinking sun.
Technical notes, the first and last images were processed in photoshop, using layers to bring the right textures to all points of the photograph. I use a very slight vignette to pull the eye towards the centre. And in all of these images except the last, the pier is centre stage. I used Nik Silver Efex Pro to process the colour conversion to monochrome in all instances.