Overall Comments
Creative realisation under Covid-19 pressure. Searching for subjects during lockdown.
Have to be commended for this and there are some creative/symbolic image and a start
of a ’typology’ of comparing portraits of people with masses as well as the empty
Landscape. The more illustrative images (signs in windows) are less successful as they
tell the viewer rather than show the effects of the phenomena. Some difficulties
accessing the original submission (on drop box – which I don’t use) much better to stick
with one system – notifications didn’t come for this submission for some reason so
apologise for late feedback. Do title the digital files with name (and student number if
possible) – good idea to tile the folder as practice for submitting to others outside OCA
education system – to avoid files getting lost.
To revise – think about approaching any phenomena such as Covid with a two pronged
strategy. Images of windows with ‘closed’ signs to explanations of Covid information are
absolutely valid for submission to a library (such as Alamy) for ‘illustration’ in a
newspaper etc. How to show the affect of pandemic (emotionally, economically, socially)
and approach subjects with the codes which contextualise this. Studying some of the
influential photographers who used reportage but with this more conceptual way of
working (Walker Evans, Berenice Abbot:) will help. For constancy, if reportage (people
caught unawares) isn’t your presence – set up portraits and work with the subject.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration
of Creativity
• Signs in windows are obvious and don’t fully contextualise the effects of the
lockdown. Having said that headless mannequin with text is on to something ( see
Atget in – Readings). Perhaps stand back your viewpoint in this. Cropping in close
tends to be a way of battering the viewer over the head with ‘look at this” rather than
allowing the symbolic to breath. After all we are talking about context as a
determinant of Maning here. One aspect of this is allowing the ‘internal context’ to
provide encourage – the social and environmental effects of lockdown and Covid-19
tension. We need to see what’s win the wider frame. For some images an extreme
close up can work in sequence (A2 – Pandemic-13-10.jpg ‘hope’) – experiment this on
the contact print so we can see at the time of taking you have provided the editor (in
this case you – but on assignment would be someone else who may prefer a wider
shot).
• There are the beginnings of a strategy to approach the representation of Covid
lockdown. A combination of typology portraits with the desolate images could work
well.
• Some (A2 – Pandemic-11-8.jpg) are less successful as they are grabbed images,
whilst useful for ‘news’ they aren’t as strong as if you continued in the same approach
as A2 – Pandemic-2-4.jpg. Consider rejecting on this difference between a ‘reportage’
/ Robert frank way of working and a more considered set up portrait in your blog.
Decide which way to construct the sequence (one is not better than the other).
• Selection of images. If queue from the back of shoppers doesn’t fully show the
emotional effects of Covid then take out. One or two images not included could have
worked better (A2 – Pandemic – 49) a more symbolic still life as well as – A2
Pandemic – 9 – the markers on the floor and the feet suggest this unease. If
approaching strangers to make pictures without permission is not your thing then
think of a different strategy – see Bruce Gilden v Laura Pannack (in – Readings.)
Coursework
Demonstration of technical and Visual Skills, Demonstration of Creativity
• Reface your finding from course work exercises and say how you used this in your
assignment.
• Outline in evaluation of your assignment is well expressed and engaging (this is one
of you strengths). Consider that the ‘reportage’ approach you decide on is useful but
your images are hinting at something more considered than that (the comparison of
portraits/still lives and landscapes). Say where you got this from – reface to exercises
so that research is integrated.
Research
Context, reflective thinking, critical thinking, analysis
• No problem with using a variety of methods / tools at this stage (Jim Goldberg a
useful photographer to consider here).
• ‘work with what I had’ is fine and understandable. A re-edit with some on the contract
print would be useful. Consider ‘research’ can be a combination of referencing key
texts on genres/approaches but also visual. The contact print could be annotated or
bullet point findings to show the viewer how you decided on what to include in the
sequence (and what to leave out). This could go through a few more iteration before
final sequencing for submission.
• Reference influences in your blog (Contagion etc).
Learning Log
Context, reflective thinking, critical thinking, analysis
• Your reflections on the blog are critical and appropriate.
• As you say images ‘not particularly subtle in their messaging’ so reflect on the
difference between symbolic and illustrative images in the blog.
• Perhaps, a small suggestion, but retreat from ‘in my opinion’ and adopt a third person
reflective research outline. In that way you can discuss ‘stereotypes’ (https://
holliwomble2.home.blog/2020/06/04/3-3-nigel-shafran-washing-up-2000/) but outline
how our ‘opinions’ are influenced from assumptions rather than evidence. It’s our job
as photospheres to find evidence but at the same time we can express ‘inner world’
of feelings according to the approach we make. Both are valid.
Suggested reading/viewing
Context
Reportage approach is working well for this but consider that you have the start of a two
pronged representation here. Best summarised by comparing a ‘typology’ set up portrait
(Laura Pannack) with a more ‘in your face’ approach (Bruce Gilden)
• Bruce Gilden, Interview with Bruno Bayley, Vice Magazine, Jul 16 2013:” https://
http://www.vice.com/en_uk/article/ppq78g/bruce-gilden-is-comfortable-taking-
photos-of-strangers
• Laura Pannack, The Walks, Full Bleed,17 Mar 2016: https://www.vice.com/en_uk/
article/ppq78g/bruce-gilden-is-comfortable-taking-photos-of-strangers
• What Bruce Gilden Learnt Photographing in Grocery Store Parking Lots During
COVID-19: https://www.magnumphotos.com/newsroom/what-bruce-gilden-
learnt-photographing-in-grocery-store-parking-lots-during-covid-19/
Pointers for the next assignment / assessment
• Send images and text via goole drive as you have done
• Practice summarising research findings in a concise form – even having a summary
at the top of each part.
Please inform me of how you would like your feedback for the next assignment:
written or video/audio.
Strengths Areas for development
Creative approach sampling a range of
approaches from reportage blurry images to
still lives and landscapes as well as a more
considered typology approach.
one or two images ‘illustrate’ with text. You
could combine the different genres or imply a
more consistent typology approach. The
sequence needs a re-edit and refinement –
perhaps including some images as discussed
that you have not chosen from the contact
print.
Contextualisation and working to find
meaning is evident drawn from your
research.
Avoid too much over-thinking as you gather
images. Let it emerge in the edit/re-edit. This
takes practice but it is well on its way. Continue
experimenting this as it is working.
Blog / Written work.
Step back from ‘in my opinion’ and ground it in
research findings. Discuss stereotypes and
how you might approach photography to
question these and show the ‘unseen’ above
pre-conceptions. What strategy you choose to
represent your subject is key and will come
from these readings which you clearly understand.
Holli Kalina - Photography Coursework 