Duncan Ganley | Location Shots

location shots (Vatnajokull)
digital C-print, 30 x 40 inches; 2008

location shots (Westminster Abbey)
digital C-print, 30 x 40 inches; 2004

location shots (Harrods)
digital C-print, 30 x 40 inches; 2004

location shots (Fort Worth Modern)
digital C-print, 30 x 40 inches; 2004

location shots (Loch Lomond)
digital C-print, 30 x 40 inches; 2006

location shots (Admiralty Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (Bridge of Sighs)
digital C-print, 30 x 40 inches; ongoing

location shots (Marble Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (St. Paul's)
digital C-print, 30 x 40 inches; ongoing

location shots (The Alamo)
digital C-print, 30 x 40 inches; ongoing

location shots (Grand Canyon)
digital C-print, 30 x 40 inches; ongoing

location shots (Memorial Fountain)
digital C-print, 30 x 40 inches; ongoing

location shots (Millennium Bridge)
digital C-print, 30 x 40 inches; ongoing

location shots (Ground Zero)
digital C-print, 30 x 40 inches; ongoing

location shots (Hill)
digital C-print, 30 x 40 inches; ongoing

location shots (Gainsford Street)
digital C-print, 30 x 40 inches; ongoing

location shots (Wellington Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (Times Square)
digital C-print, 30 x 40 inches; ongoing

location shots (Roosevelt)
digital C-print, 30 x 40 inches; ongoing

location shots (Grief is the price we pay for Love)
digital C-print, 30 x 40 inches; ongoing

location shots (Sky City)
digital C-print, 30 x 40 inches; 2004

The ongoing series Location Shots, seemingly depicts people taking photographs at locations of historical, cultural or scenic significance. From Westminster Abbey, London to Sky City, New Mexico, by showing an apparently benign pastime - tourists taking photographs - my aim is to reveal that the act of photography and the resulting image has implications in our understanding of the real.

Are these images really testament to the fact the photographer (of the image itself and/or the photographer depicted) was really 'there'? Not only are these 'silent witnesses' actions of visual recording questioned, but the significance of the locations in which we see them. Are the scenes we/they are looking at, as truthful as they appear?

The constant slippage of interpretation as to the nature and purpose of these images, reveals not only the unstable ground on which the veracity of the photograph is positioned but also questions the purpose of the act of photography itself.