Waddell Digital: Blog https://www.waddelldigital.co.uk/blog en-us (C) Waddell Digital (Waddell Digital) Mon, 16 Mar 2020 07:33:00 GMT Mon, 16 Mar 2020 07:33:00 GMT https://www.waddelldigital.co.uk/img/s/v-12/u660760458-o380868048-50.jpg Waddell Digital: Blog https://www.waddelldigital.co.uk/blog 90 120 Olympic standard design? https://www.waddelldigital.co.uk/blog/2020/1/olympic-standard-design I give an annual careers talk on graphic design at Park House School in Newbury - a school which champions sport and physical activity and inspires its students to think carefully about the Olympic and Paralympic values (Friendship, Respect, Excellence, Determination, Inspiration, Courage and Equality) in all their academic and sporting activities.

Therefore it seems appropriate that as part our chat about graphic design I get the students to look briefly at the history of branding the modern Summer Olympic Games and then set the students a challenge to design a logo for the forthcoming Olympics in Tokyo.

Apart from gaining inspiration myself from the students who really engage with the process with some wonderfully unrestricted design ideas it's also a brilliant opportunity to reflect on the truly good, bad and ugly designs associated with the Games since the first IOC Modern Olympics in Athens in 1896.

Information and links about the designers is included where available but so far I have only found decent resources for work from 1964 onward, when each games truly started to have what we could perceive as a proper corporate identity.

I have my absolute heroes and truly awful villains from the below resource. What are yours? Feel free to comment below or add any information or corrections for future updates...

The early years:

Athens 1896

Paris 1900

St Louis 1904

London 1908

1912 Stockholm

1920 Anvers, Belgium

1924 Paris

1928 Amsterdam

1932 Los Angeles

1936 Berlin

1948 London

1952 Helsinki

1956 Melbourne

1960 Rome

The later years:

Tokyo's beautifully iconic logo for the 1964 Games (the first hosted outside the west) was the creation of art director Masaru Katsumi and graphic designer Yusaku Kamekura. The almost obvious use of the red 'rising sun' of the Japanese flag combined with the Olympic rings and the words 'Tokyo 1964' in Helvetica type are so simple and redacted that they remain influential.

The 1968 Games in Mexico was more complex in design. Designed by a team led by Lance Wyman the logo seems to incorporate its own funky running track and overlays the Olympic rings on "68". Some may criticise it for its partial illegibility but I love its memorability. (I also like it enough to have worn a T-shirt featuring the design although the fact it's my birth year may have contributed to that emotional connection.)

There is a wonderful resource on the design of the 1968 Mexico games logo here >>>

Otl Aicher should be a name all design students learn to know. He became famous for designing the logo and corporate identity for the 1972 Munich Olympics along with some of the most wonderfully executed and simple sporting pictograms. The Munich logo drops the Olympic rings and becomes a rather abstract device which owes much to the op-art of the 1960s.

There is a fabulous resource of ephemera from the 1972 Olympics here >>>

Mexico, Munich... Montreal 1976. Marvellous. This grid-based design by Georges Huel crams in an M, a running track, a podium, the Olympic rings and possibly even reflects the Canadian maple leaf as the blog at Aisle One explains in slightly more detail >>>

Another M! Moscow 1980. I have so far been unable to find much online about the designer of the Moscow Olympics logo. The attributing of the work to Vladimir Arsentyev leads, confusingly, to someone who seems to have graduated too young to have created it. I do love it though as it is typical of much Soviet propaganda in its bombastic directness and ambition. Certainly faster, higher and stronger than some other designs...

1984's Los Angeles Olympic logo by Robert Miles Runyan took the idea of stars in motion literally and and where Moscow's logo was higher Los Angeles' logo was faster still. Speed lines became overused in product logos throughout the eighties but this still stands the test of time as a retro classic in my eyes.

The Seoul logo for the 1988 Games has at its heart a Korean samtaeguk pattern which then seems to spin to resemble a running track (again). I am currently still searching for the designer of this logo for an appropriate credit.

Not sure about this one. I can see the hint to Miro's torn paper images in the logo for the Barcelona Games of 1992 but its combination with Times as the font choice looks somewhat lazy and incongruous. Typography as an afterthought rather than an integral part of the logo? Credit: Josep M. Trias.

Landor Associates designed the Atlanta Games logo for 1996 and it's very much of its time while cleverly incorporating some nice touches and references. Here's their description: "The 1996 Summer Games were special even by Olympic standards: They commemorated the 100th anniversary of the modern Olympics. For this occasion, Landor created the Atlanta Centennial Torch, illustrated as a classical Greek column built from five Olympic rings and the numeral 100. The flame rising from the torch gradually transforms into a star, symbolizing athletic aspiration and achievement."

Sydney's Games logo for 2000 was a lesson in design for the Barcelona Games logo designers. Whilst still not to my taste, at least they took the design further to include more cohesive typography and incorporated some typical Aussie humour with a man made of boomerangs and an Olympic torch flame in the shape of Sydney Opera House. Architect Michael Bryce designed the logo itself and an interesting design case study on the branding of the games can be found here >>>

You can't get much bigger than Wolff Olins as your choice of design firm for your Olympic logo and this is what they came up with for the Athens 2004 Games. Vibrant and simple with a laurel wreath and stereotypical Greek palette it could be suggested they could have tried harder but simplicity is king right?

Beijing's 2008 logo, designed by Guo Chunning, follows a similar approach to the logos for Sydney and Barcelona. A folk figure, this time represented by a red seal and calligraphic typography combine effectively to form what was known as Dancing Beijing.

Controversy surrounded the Wolff Olins design for London 2012. Apart from the aggressive angular pseudo-graffiti styling this logo stood out for me as one which broke many established design rules - not least of which by allowing sponsors to change its colour to suit their own brand guidelines. Almost an anti-design identity and therefore appropriately punk and anti-authoritarian for London. Like it or loathe it - it caught people's attention.

Designed by the Brazilian agency Tatil, Rio 2016's logo was both brilliantly sophisticated and childlike in my mind. Celebrating togetherness with three figures holding hands, it also cleverly made a silhouette of Sugar Loaf Mountain. Having said all that, once you tell people that both the Olympic and Parlaympic logos both remind you of a baby's dummy; it's hard to un-see that comparison...

Tokyo 2020... pictured here next to their Paralympic logo. Whilst the main logo looks symmetrical at first glance, it isn't but employs rotational symmetry in its chequered blue pattern. I am a real fan of Asao Tokolo's geometry and single colour usage for this logo and can't wait to see its implemenation at the games. One day maybe I will visit Japan for more design inspiration but in the meantime, one can but dream...

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The logos for Paris 2024 have, almost inevitably, attracted mixed reactions from designers. It has been compared unfavourably to the Tinder app logo and described by some as similar to a twee hairdressing logo. The modern trend to criticise and satirise anything new and not consider things in context, whether logos or political quotes is an easy bandwagon to jump on; maybe this typically playful, French design depicting a rather Art Deco vision of Marianne combined with a flaming medal will grow on us? Design by Royalties Ecobranding.


Blog updated 1 January 2020 to include the Paris 2024 logo.

 

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(Waddell Digital) branding corporate identity design education Design history Design resource Graphic Design logo design logos Olympic Olympic Games Olympic history Olympic logos Wolff Olins https://www.waddelldigital.co.uk/blog/2020/1/olympic-standard-design Wed, 01 Jan 2020 12:55:00 GMT
Photo A Day 2018 - a learning experience https://www.waddelldigital.co.uk/blog/2018/12/photo-a-day-2018-a-learning-experience Why shoot a photo a day?

Turning 50 in 2018 needed a challenge and what better challenge for a photographer than to make sure you shoot at least one image every day throughout the year. A bit odd you might think for a professional to give themselves more work to do, but this year has been a brilliant learning experience in many ways. On top of the daily challenge which was started on 1 January, I added another couple of layers to the challenge by restricting myself to mono images and a 50mm lens (a Canon EF f/1.4 for those who are interested in technical specs). Choosing the 50mm was an almost purely arbitrary decision - a 50mm lens in my fiftieth year... what can I say? I like patterns and symmetry in words as well as images...

March-15March-15

So what did I learn from shooting a Photo A Day in 2018?

The biggest shift for me this year has been "think more and shoot less". When shooting for clients one can end up with hundreds of files to process. I have become more efficient through this project; thinking more carefully and more quickly about each shot. The repetitive nature of a photo a day project definitely has an aspect of wax-on, wax-off about it (you need to know the original Karate Kid films to understand that idea). A concept which was emphasised even further when I met a Japanese Master Woodblock printer Motaharu Asaka at Rabley Drawing Centre on 14 May. His apprenticehip was over ten years - a lesson in perserverance and something us long-in-the-tooth and still-learning photographers can identify with.

May-14May-14

Move your feet more.

Shooting with a prime lens was a bit of a change for me. Shooting PR and events photography often dictates the use of a zoom for speed and flexibility. The nifty-fifty has taught me to move more as well as think more. For instance, shooting people with the shorter focal length makes you engage more - you're definitely in the subject's space as shown below when I met some more masters; Swindon-based videographer Martin Parry at Swindon's Railway Village and renowned Magnum photographer Martin Parr at his foundation in Bristol where he accepted a copy of my book The End of The Pier Show into his library of British photography. I'd like to explore more intimate portraits in future.

May-1May-1

May-12May-12

A nifty-fifty is demanding.

Going back to using a 50mm lens has been brilliant. The creative opportunities it gives when shooting wide open for example are matched by the focusing challenges presented by the narrow depth of field in the same situation. Every shot involves being more engaged with the technical and creative process.

September-9September-9

Themes...

Inevitably there has been a repetition of themes throughout the year. This is despite trying to be as eclectic as possible in terms of subject and technique within the constraints of the project. I have thought about portraiture in more detail as mentioned already and landscapes have presented some dreamy results too.

May-7May-7

But, most of all I have become fascinated with abstraction throughout the year and this will feature even more in next year's personal project. I feel there is much, much more to be explored at an ambiguous, macro level...

November-27November-27

You can enjoy more of my 2018 Photo a Day project here and order prints too if any catch your eye:

waddelldigital.co.uk/photoaday2018

And in the meantime here are the top nine biggest crowd-pleasers as enjoyed by my instagram friends and followers:


 

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(Waddell Digital) 50mm Lens 50mm prime Black and White Black and white Photography Canon 50mm lens Magnum Photographers Martin Parr Nifty Fifty Photography portrait photography https://www.waddelldigital.co.uk/blog/2018/12/photo-a-day-2018-a-learning-experience Mon, 31 Dec 2018 07:54:36 GMT
The End of the Pier Show https://www.waddelldigital.co.uk/blog/2017/9/the-end-of-the-pier-show


According to The Pier Society ~ a charity founded in 1979 under Sir John Betjeman ~ just 59 of the UK’s 100 pleasure piers remain.

Between 2003 and 2017, Chris Waddell photographed the remaining 59; creating images as eclectic as the piers themselves which are now published in a stunning, 140-page volume of mono and colour photographs printed full-colour H-UV litho throughout.


You can buy your copy now, for £45 + postage and packing (or collect in person).

Please select your delivery destination carefully when choosing from the  menu below.

(You will leave the site and be taken to Paypal's secure payment portal.)

UK
£45 + £4.50 postage and packing

 

EUROPE
£45 + £14 postage and packing

 

REST OF THE WORLD
£45 + £19.00 postage and packing

 

Please note this book is in stock and is professionally litho printed. It is not a print-on-demand edition.

 

If you wish to buy more than one copy please get in touch.

Books and postage are not liable for VAT in the UK and while the same generally applies in other countries you are responsible for any local taxes or import duties should they become liable. The books will be bubble wrapped and packed in secure cardboard boxes.

Please keep in touch - I'd love to hear from you via the comments below or directly via social media or email.

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(Waddell Digital) bbc coast great britain history landscape photography photo book photography photography book pier photography pier society piers united kingdom https://www.waddelldigital.co.uk/blog/2017/9/the-end-of-the-pier-show Sun, 03 Sep 2017 09:21:38 GMT
Drones and Journalism: how the media are using unmanned aerial vehicles https://www.waddelldigital.co.uk/blog/2017/3/drones-and-journalism-how-the-media-are-using-unmanned-aerial-vehicles At the Iconic Photographs exhibition in Bath there is a shot by Massimo Sestini of migrants in a boat taken from an Italian navy helicopter in 2014.

You might think that, given the angle and the nature of the story, that it had actually been captured by a drone. The migration crisis of the last few years has produced some stunning images (see:www.bbc.co.uk/news/magazine-34137358) and drones have helped tell that story.

But how much are drones giving us a new perspective?

In 1889 the Eiffel Tower opened to the public and almost a million people rode the 324m to the top. As Robert Hughes points out, until then most people “lived entirely at ground level, or within forty feet of it.” When they arrived at the summit visitors “saw what modern travellers take for granted every time they fly – the earth on which we live seen flat, as pattern, from above. As Paris turned its once invisible roofs and the now clear labyrinth of its alleys and streets towards the tourist’s eye, becoming a map of itself, a new type of landscape began to seep into popular awareness. It was based on frontality and pattern, rather than on perspective recession and depth.” (Hughes 1991: 14)

Mapmakers and painters had long imagined the view from above. The vision they had created tended to be contained, everything grasped in the one image with the boundaries of the city neatly set out. The perspective was often oblique, looking towards the horizon rather than directly down. In the latter half of the 18th century, elevating people in balloons was complicated enough without then recording what they saw. When Thomas Baldwin produced his Airopaidia in 1786 giving views of what he had seen cruising over Chester he had carried with him a specially created set of pencils for the task.

It took until the end of the 19th century for photographic technology to work in balloons. Felix Tournachon, commonly known as Nadar, made his first ascent in 1857 but failed to record anything because of problems with the film. He then perfected the ability to develop his plates while aloft.  By the first decade of the 20th century the trade press were advertising equipment to film from above whether in planes or balloons and giving tips on how to do this effectively. Teresa Castro describes one such article by French balloonist Andre Prothin.“[He] was clearly more interested in the conventional panoramic possibilities of such vision, arguing that what distinguished them were their documentary powers, their visibility, their topographic qualities and their evident value for reconnaissance, which is to say their cognitive value.” (Dorrian and Pousin 2013: 123)

In other words an objective perspective merely representing what is below, not interpreting. Yet as Barber and Wickstead point out: “Aerial views, we argue, are not always the same…. Numerous analyses demonstrate how ways of seeing are historically and culturally situated.” (Barber and Wickstead 2010: 237).

The exhilaration felt by Baldwin, Nadar and all those who ascended the Eiffel Tower at these new panorama, mirrors the excitement that drone footage can inspire today. Suddenly the technology has closed a gap. There is a possibility of seeing something fresh. There is a belief in the power of this new image to create change. Gynnild describes drones as a “disruptive innovation” that has “…emerged accidently, but disrupts existing conceptions of journalism and subsequently contributes to the creation of new markets and value networks in addition to reducing human risk raking when covering catastrophic and conflicting events.” (Gynnild 2014: 336).

Photographers have been covering catastrophes since they were first able to process film. Commercial photographer George R. Lawrence gained national attention when he used kites and balloons to lift his specially-made camera over earthquake-ravaged San Francisco in 1906.

More recently drone footage captured the result of the Italian earthquake of 2016 and that year’s Japanese earthquakes, a brutal quake to hit Nepal, bushfires in Australia, numerous wild fires and storm damage in America. The summer of 2015 saw the largest movement of people in Europe since the end of the Second World War. Political instability, climate change, economic collapse and war led to a huge influx of migrants to the continent. It was a complex, long-running story and one where drones were deployed repeatedly by the media. The footage gathered, both still and moving, undoubtedly turned the story into something more spectacular. We get a much clearer idea of the scale. We are given a privileged eye witness perspective; truly god-like as we look down upon the people beneath us. The god-like view does not, though give us omniscience. We don’t gain any extra knowledge about who the people are. Sometimes they do not even seem aware of the camera above them and there is certainly no way they can engage with it. There is no chance for them to influence what is being shot – they are passive participants in the drama.

At times in these reports we are unaware of the camera, as is usual with news packages. At other times, especially as it pulls away and up, we are treated to something more like a cinematic experience. Our relationship with the piece changes; indeed they have been signalled as drone footage so there is an expectation for the spectacular. At a high altitude with a slow flightpath it mimics the view out of an aeroplane window. If the camera moves off the horizontal plan we become more conscious of the mechanism that allows us this viewpoint. A swoop down signals to the viewer that this is not a helicopter shot but something we would have otherwise have seen in a film. One could argue that our conditioned reaction then gets confused. An adventure movie excites and thrills but we are not generally engaged by them. We consume and then we move on. That movie reaction is particularly so with the reveal; the slow rise by the drone and then the move across a landscape. Here we are made complicit in the spectacle. The gasp-inducing rise above a devastated city excites that reaction because of its filmic nature allied with the fact that what we are looking at is ‘true’. There are no blue screens or models.

But as Chouliaraki writes: “Despite the expansion in news delivery technologies, all pieces of news are eventually subject to a process of selection and symbolic particularization that defines whose suffering matters to Western spectators.” (Chouliaraki 2006: 187).

This is an exclusive edited extra from Drones and Journalism: how the media are using unmanned aerial vehicles by Phil Chamberlain, published in February 2017 by Routledge. See: https://www.routledge.com/Drones-and-Journalism-How-the-media-is-making-use-of-unmanned-aerial-vehicles/Chamberlain/p/book/9781138668782

Phil Chamberlain is currently Head of Department for Film & Journalism at the University of the West of England and is also the author of Blacklisted: The secret war between big business and union activists 2nd edition (2016) newint.org/books/politics/blacklisted-secret-war-2/

References:
Barber, M and Wickstead, H (2010) One immense black spot: aerial views of London 1784-1918. The London Journal Vol 35 No 3 236-54
Berger, J (1972) Ways of Seeing London: Penguin
Chouliaraki, L (2006) The Spectatorship of Suffering London: Sage
Crary, J (1992) Techniques of the observer: on vision and modernity in the nineteenth century Cambridge: MIT Press
Dorrian, M and Pousin, F ed (2013) Seeing from above: the aerial view in visual culture IB Taurus: London
Giddings, S and Lister, M ed (2011) The New Media and technocultures reader London: Routledge
Hughes, R (1991) The Shock of the New: Arts and the century of change London: Thames and Hudson
Kellner, Douglas (2003) Media Spectacle London: Routledge
Lyon, D (1994) The electronic eye: the rise of surveillance society Cambridge: Polity Press
Rothstein, A (2015) Drone London: Bloomsbury
Tremayne, Mark & Clark, Andrew (2014) New Perspectives from The Sky. Digital Journalism Vol 2(2) 232-246.

This follows our previous blog on the Iconic Photographs exhibition in Bath: www.waddelldigital.co.uk/blog/2017/3/bringing-photography-to-life-with-poetry

See aerial photos of Ottawa taken from a light aircaraft (2006) here:

Canada 2016Canada 2016

 

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(Waddell Digital) Aerial photography Art Art history Bath Bath Spa Conflict photography Copywriting Journalism Photo journalism Photography https://www.waddelldigital.co.uk/blog/2017/3/drones-and-journalism-how-the-media-are-using-unmanned-aerial-vehicles Fri, 24 Mar 2017 12:26:47 GMT
Bringing photography to life with poetry https://www.waddelldigital.co.uk/blog/2017/3/bringing-photography-to-life-with-poetry Are pictures really worth a thousand words? Or are words and pictures necessary bedfellows?

With some time to spare before a rugby match in Bath last Saturday, I suggested that the family and I take a look at the Incite photography exhibition at The Victoria Art Gallery. Featuring 75 iconic images that have illustrated dramatic changes in the world; I felt it wasn't to be missed...

I couldn't have been more satisfied that, as an added bonus, our visit coincided with that of some roving reporters - Year 2 students from Bath Spa University’s BA Acting programme who offered explanations of their chosen photos from the exhibition along with poems they felt captured the essence of the images.

Melanie Hughes explained to me why she'd chosen one of the most captivating and unsettling images - Don McCullin's famous Shell Shocked US Marine, The Battle of Hue, Vietnam 1968. She then offered to recite The Hollow Men by TS Elliot. A brief extract of which, here:

"...We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar...

"...This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper."

Student, Melanie Hughes next to Don McCullin's image of a shell-shocked US Marine.Student, Melanie Hughes next to Don McCullin's image of a shell-shocked US Marine.

It truly gave me goosebumps to stop and stare at the image while listening intently. A brilliant choice; not only because of its depth of meaning but also because of the reference to Kurtz from Joseph Conrad's Heart of Darkness at the start of the poem; a story which famously formed the basis of the epic, Vietnam War film Apocalypse Now. The soldier's emptiness was made more palpable by Melanie's recital.

Kristina Rasic next to Henri Huet's image of the body of a US paratrooper killed in action.Kristina Rasic next to Henri Huet's image of the body of a US paratrooper killed in action.

Do not stand at my grave and weep
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning's hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die.

Kristina Rasic's choice of Do not stand at my grave and weep to accompany Henri Huet's 1966 image of the body of a US paratrooper killed in action in Vietnam being evacuated by helicopter was equally haunting. The starkly-contrasted image reminded me of a scene from Hacksaw Ridge in which the hero Desmond Doss's rescued, injured body is silhouetted against the sky on a stretcher with almost religious significance. A Christ-like sacrifice? A soul being raised to heaven? The symbolism weighed heavy and Kristina's choice of poem with a sense of the after-life was all the more significant for it.

Lazlo Whittaker with Henri Bureau's apocalyptic photograph of a burning oil refinery.Lazlo Whittaker with Henri Bureau's apocalyptic photograph of a burning oil refinery.

Lazlo Whittaker chose the Lone Soldier to add a narrative to Henri Bureau's apocalyptic photograph of the burning Abadan oil refinery from the Iran-Iraq war in 1980:

I walk with no man, I always walk alone

My soul made of fire and my heart of stone

I have no pain, ignoring all that I feel

With bones of iron and nerves of steel

This is what I portray, fooling you all

My emotions so strong, my defenses so tall

But inside I'm weak, having unsettled war

Not knowing why I battle or what this is for

This war is unending and cease fires are few

No shots are heard but damage is true

What is going on here, what is this for

I'm a lone soldier in a private war

 

The futility and desperation of war are common, creative themes. I was grateful to these students - whose choice of words made me stop and look longer than I normally would - for making me realise that photography and poetry are still powerful tools and especially when combined in a time when depth and meaning are worryingly and all too frequently lost in a nonsensical age.

History through a Lens: Iconic Photographs from the Incite Project runs from 25 February - 10 May 2017 with roving reporters present on Saturdays 4, 11, 18 and 25 March 12.00-15.00.

 

 

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(Waddell Digital) Art Art history Bath Bath Spa Conflict photography Copywriting Incite Journalism Photographic history Photography Photojournalism Poetry War photography https://www.waddelldigital.co.uk/blog/2017/3/bringing-photography-to-life-with-poetry Mon, 06 Mar 2017 18:32:41 GMT
From Urbex to Stonehenge https://www.waddelldigital.co.uk/blog/2016/12/from-Urbex-to-Stonehenge Hello!

My first blog on our new website – a brief introduction to IgersWiltshire...

For the last four years or so I have been running Igerswiltshire on Instagram - an informal, semi-official, online hub and offline social group for photographers of all abilities in and around Wiltshire. I have since been joined at the helm by Louise - a talented amateur, and Emma - also a talented amateur and an expert in regional tourism - they both help enormously in running the group; choosing features and planning events.

What started on a whim, encouraged by Corinne at Igerslancashire and Jess at IgersUK has developed into a regular source of fun for our local 'Igers' who have enjoyed everything from a dark and dingy urbex exploration of some old WWII tunnels to an awe-inspiring sunrise at Stonehenge - one of several instameets we have jointly organised with our amazing friends at VisitWiltshire. We are hugely grateful to them for ideas and discounted access to some fantastic sites around our county!

We don't have many rules - just common sense etiquette and a welcome for photographers of all abilities with various types of camera equipment from mobile phone to DSLR and anything or everything in between (including pinhole cameras!).

We always look out for new and unusual shots from around the county; fresh perspectives on well-known landmarks and places we may not have seen in person yet. And, we try to feature new instagramers although inevitably some regulars crop up on our feed.

Please join us - use #igerswiltshire on instagram and come along to one of our instameets...

Cheers,

Chris Waddell - aka @Count_Christoph on instagram.

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(Waddell Digital) Instagram Photography Photowalk Salisbury Stonehenge Swindon Tourism Urbex VisitEngland VisitUK VisitWiltshire Wiltshire https://www.waddelldigital.co.uk/blog/2016/12/from-Urbex-to-Stonehenge Tue, 20 Dec 2016 18:43:53 GMT