A4: Formative Feedback

A4: A Picture is Worth a Thousand Words.

Assignment

Write an essay of 1,000 words on an image of your choice. The image can be anything you like, from a famous art photograph to a family snapshot, but please make sure that your chosen image has scope for you to make a rigorous and critical analysis.

Response

Backyard – Venice West, California. (Robert Frank)

Backyard – Venice West, California is one of 83 images presented in Robert Frank’s seminal photobook “The Americans” These 83 photographs, captured on 35mm black and white film, were selected from over 27,000 taken during his 1955-1956 tour of the United States of America supported by a Guggenheim fellowship (Rosenheim,2011).

Frank’s snapshot-like, shoot from the hip photographic style valuing image content over image quality broke new ground in 1950s photographic culture. His eschewing of classical composition rules and avoidance of political correctness in capturing his personal view of 1950’s America earned the review “…They are images of an America seen by a joyless man who hates the country of his adoption.” in Popular Photography magazine at the time(Sidley,2016). Frank’s images lifted the lid on the “American Dream” and “the land of the free”, graphically depicting the poverty and widening gap between the wealthy and poor and the prevalent racism of 1950s America.

The Americans wasn’t published until 1958, several years after Frank’s road trip. First published in France by Robert Delpire it included commentary from French writers critical of America. In 1959 it was republished in America by First Grove Press. Gone were the critical commentaries, in their place an introductory prose written by Jack Kerouac. In describing the contents therein Kerouac proffers “with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the sad poets of the world” (Kerouac,1959).

There exists a poetic flow to the imagery within the book. Recurring themes of working life, transport, housing and leisure activities, amongst others, draw out comparisons between social groupings, the haves and have-nots, the working and governing classes. The images describe the reality of the life that existed beneath the polished facade of capitalism presented to the world.

In the mid 1950’s, despite much of America seeing an economic upturn after the second world war, Venice California was recognised as an area of poverty and social deprivation. This image depicts the rear garden of a property in Venice West, California between 1955 and 1956.

The image foreground consists of various plants, and evidence of plant propagation through the use of open topped glass cloches. The background to the image is a seemingly rundown single story dwelling with dirty louvred glass window panes set into its shiplap timber cladding. Much of the building is obscured by large bushes and trees. To the left hand side of the image a tree is shown that is without leaves. In the centre of the image and on a diagonal emphasised by the leading line of glass cloches the viewer’s eye is drawn to an elderly man sitting partially reclined in a chair under a makeshift shade. He sits, in his shirt and jacket, smoking a cigarette. The age of the man is unclear from his face alone as it is in shade but referential codes associated with his clothing suggest him to be elderly. Behind him are the rusting remains of an old (1930’s style) car which appears to have been abandoned. Leaning against the car is the long handle of a hoe or some other gardening implement and a box is perched on the car roof. The man’s cowboy style hat is hooked on a branch of the naked tree. Next to the man another chair which can be seen to be a dining chair which has been repurposed for the garden remains unoccupied, raising questions as to the location of the intended occupant if there is one?

The rundown condition of the property and overgrown condition of much of the garden denotes a lack of attention on the part of the owner but also connotes an inability or lack of interest in maintaining the property. Is the property too much for an elderly man to manage, or does a presumed lack of interest indicate depression? The glass cloches in a row, slanted bricks being used as a border to bedding plants, canes used to support planting all denote structured cultivation and they support the former. The garden tool resting against the car and the seating with makeshift shade suggest that the man is taking what is a necessary and regular break from gardening in the hot sun. In combination these codes describe a man who cares about his garden but is unable to expend the necessary effort or money that it would take to fully maintain it.

The abandoned and rusting car body which appears not to have moved in years connotes poverty. The man may be unable to drive any more, or it may just have broken down and has found himself unable to afford the cost of repair. We may not know the answer but culturally we would expect the car to have been taken for scrap or sold rather than left in situ to rust away. The reuse of bricks to create a border connotes thrift and is not uncommon, but the repurposing of dining chairs in the garden and the makeshift nature of the shade are unusual and again back up the connotations of poverty.

A particularly important code within this image relates to the makeshift shade under which the man sits. The image is monochrome so we are unable to make out the colour but the striped fabric of the shade and also on the back of the chair that the man occupies conjure images of the American flag. Within the context of the book in which this image is published the link to the American flag amongst the signs of poverty and decay makes a powerful statement about social inequality in America at that time.

For me this image reminds me of my grandfather in his later years. A keen gardener but with neither the energy or finances to fully maintain his plot. This is not a heartbreaking story but it is a sad one and it is one that is equally relevant today.

References:
Frank, R. Kerouac, J. (2017) The Americans. eleventh edition, Gottingen: Steidl.

Sidley, K. (2016) Robert Frank, American, born Switzerland.1924–2019 [online].MoMA. Available from: https://www.moma.org/artists/1973#fn:1. Last accessed 14/09/2020.

Rosenheim, J. (2011). Looking In: Robert Frank’s The Americans – Panel and Lecture [online]. MoMA. Available from: https://www.metmuseum.org/metmedia/video/collections/ph/robert-franks-the-americans. Last accessed: 14/09/2020.

Bibliography:
Gefter, P. (2019) Robert Frank Dies; Pivotal Documentary Photographer
Was 94 [online]. The New York Times (website). Available from: https://www.nytimes.com/2019/09/10/arts/robert-frank-dead-americans-photography.html. Last accessed: 14/09/2020.

Westland Network. (2009) Venice History [online]. Westland Network (website).Available from:https://www.westland.net/venice/history.htm. Last Accessed: 14/09/2020.

A3: Self Portrait (Draft)

Overview

This assignment arrived in the midst of the unprecedented restrictions to liberty and social movement implemented by the UK government in response to the threat posed by Corona-virus. For the past ten weeks I have been restricted to living in my one bedroom flat with my dog Oreo for most of the day with the exception of one visit a week to the supermarket and one walk a day for Oreo. The experience has been surreal, especially in the early days when social hysteria resulted in deserted roads, high streets and public spaces. As the pandemic has continued the hysteria has reduced and gradually people are relaxing. However, non-essential shops, pubs, cafes and restaurants remain closed, the bustle of the high street remains a distant memory, the new emptiness resembling a dystopian disaster film.

Against this backdrop I recorded two weeks of diary entries, recording my activities thoughts and feelings at the end of each day. I discovered that taking time out to record these things encouraged me to reflect on what had happened and what I had achieved. It became obvious to me really early into the process that two elements of my life featured heavily in the majority of my current existence. My dog Oreo kept me company throughout lockdown and was never far from my side or my thoughts. My sofa appeared to be the hub of my home. I ate, studied, relaxed and napped on it. It became easy for me to identify the diary entries that I intended to use for a self portrait.

Approach

I planned to capture my daily life during lockdown by focusing on what took place on my sofa. This seemed the obvious approach because so much of my time was spent there. I planned to capture an image of the same location at multiple times throughout the day. The images were to be unstaged and captured without my knowledge or input.

I employed this approach because I wanted my work to express the feeling of monotony that I was experiencing living cooped up in a small space for weeks on end. I wanted to be present in my images but unposed and unaware of the intrusion. I also wanted to invite the viewer to extrapolate the elements of the scene into a story. This needed to work for an individual image and for the series as a whole.

Capturing the Images

Using a tripod positioned as close to head on to the sofa as I could get I configured my camera to automatically capture one image every five minutes. I then went about my day without paying any attention to it. I experimented with this approach before completing the diary entries because I wanted to know whether it would hang together. I varied the camera position and the focal length until I liked the results and then continued with this configuration for the duration of the project. My only involvement with the camera was changing the batteries every day, refocusing the lens and pressing the shutter button for the first image.

Processing the Images

At the end of the project I had many hundreds of images. I used Adobe Bridge (carousel) to cull them to a workable number by removing repetitions, those where I looked really terrible or had my mouth full of food, mid chew!

Using Adobe Bridge and ACR I edited the tone and colour of the images to achieve as close to uniform levels as I could. I am not sure at what point I felt that individual images would not convey my message adequately but at some point I decided that I could tile two of the draft images together into each final image. This approach achieved a number of things;

I could use twice the number of images to tell my story, thus more information could be presented.
The viewer would compare the two halves of each final image looking for a story to fill the gaps between the two.
Visually two tiled images were more interesting than a single. The proximity of the two halves making comparing the two easier.

I used Adobe Photoshop to fit two images onto one canvas and to match the colour and tone of each half before exporting to Adobe Lightroom where I finalised the images. I printed one or two of the final images onto semi-gloss photo paper and pinned them to my study wall for a few days and to see if I liked the results.

Images

_K3P0889

_K3P0912

_K3P0864

_K3P0848

_K3P0813

_K3P0743

_K3P0797

_K3P0709

Reflection

Overall I am happy with the results from this assignment. It isn’t exciting work and the images are far from fabulous but I feel that they meet the assignment brief. As I progressed I recognised that there were things that I could have done better…

I applied noise reduction and sharpening at the end of post processing. However I should have applied it to each of the draft images before combining them as each had different ISO levels depending on the light at the time it was captured. By applying NR to the combined image the end result was a compromise.

I could have decorated my lounge in something other than yellow wallpaper. I don’t like yellow in photographs! 🙂

I also discovered new skills whilst working on this assignment. Prior to this I had not really used Photoshop. For this work I utilised masks, clipped adjustments, gradient layers, with the associated learning curve.

Assignment 3: Tutor Feedback

Overall Comments

Very well written and expressed intro/evaluation/proposal for this assignment. Its evocative yet draws attention to the mundane regimented life under Covid-19 lockdown. The decision to approach this using a Typology strategy and presenting them as ‘cinematic’ diptychs allows all sorts of ‘meanings’ to emerge though recognisable social phenomena and codes of self-portraiture – even a postmodern nod to ‘google box’ – even though perhaps unintended – the connotations are all there which make for a rich, well researched and appropriate under the circumstances interpretation of ‘putting yourself in the picture’.

Clear integration of concept/theme and the approach strategy with which to express it. The idea to use the auto timer of the camera, captured without your knowledge or input is a very good one. The combination of the staged ‘Tableau’ self-portraits which, although a ‘mundane’ setting are rendered in a high quality, albeit machine like way with the diary entries as a narrative and formal counterpoint provokes the viewer with its mix of syles.

You could as you reflect both in the written introduction and reference to the blog (of how you got there) use more critical terminology such as ‘medium specific’ ‘Tableau’, ‘Performativity’ and ‘The Banal’ (as a photographic discourse). With particular reference to readings and research, including Shinkle on the mundane and practitioners such as machine made images of Walker Evans and the Staging questioning of representation of Philip-Lorca diCorcia (see – Readings). The emphasis on the interplay between the ‘grand picture’ (Tableau) and about the subject matter of the domestic and quotidian is well formed.

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Drawing from Peter Mansell’s work looked at in the course document (p; 64) there is a clear context of claustrophobia and compression but rather than use as tight square format in that series you have opted for a more ’cinematic’ 24 x 36 and tiling.
Expand on the reasoning behind this more – even though the decisions came out of a process, they still allude to contexts such as Renaissance portraiture and the self- referential (television looking back at you).

Coursework Demonstration of technical and Visual Skills, Demonstration of Creativity

Reference your findings from course work exercises in your written intro and say how you used strategies you have uncovered and been influenced by in the exercises in your assignment.

Research Context, reflective thinking, critical thinking, analysis

Not sure if I would have described it as ‘It isn’t exciting work and the images are far from fabulous’ as that’s the point! Understand the frustration of Covid lockdown but this is a very creative interpretation and in line with some contemporary practitioners. You should name it.
The images work well to represent the mundane and banal and some strong juxtapositions (for example Oreo having his biscuit (self-referential) in the diary with the more performed self-portraits. Have a look at the ‘multi-modal’ work of Jim Goldberg (i.e. diaries, mixed with snapshots mixed with more staged set ups and ‘automatic photographs) so that you see that you are borrowing traditions, ‘quoting’ from them and mixing them (which is a contemporary way of working rather than sticking to one approach).

Learning Log Context, reflective thinking, critical thinking, analysis

The blog is very well structured. Keep this idea of the ‘learning log’ as a reflective summary at the right – drawing on the ‘research’ skills in the exercises applying that to the assignments and referencing in the ‘log’. Use of Harvard in text is leading the reader to these points. Just make sure you reference the critical terminology in any written intro.
In that way strong reflective thinking in the written introduction to the work as well as the blog.
Do be rigorous as you move forward use the critical terminology in your reflections so for example:
Typologies
Medium Specificity
Staging & Tableau When it comes to the context of presentation (tile images) perhaps talk about Diptychs rathe than use vague terms such as ‘two tiled images were more interesting’ as ‘like’ and ‘interesting’ aren’t really specific enough to talk about the codes and genres that you are clearly making sense of and working with.
A nod to renaissance ideas of self portraiture combined with snapshot diaries. Page of 2 4

Suggested reading/viewing Context Camera as auto recording device.

Walker Evans: Labor Anonymous: https://davidcampany.com/anonymous-and- incognito-walker-evans/
Many Are Called:

Tableau / Staged in order to re-inforce that “people represent things. Its not personal”: Philip-Lorca diCorcia: https://www.youtube.com/watch? v=So_FK4qnz5Q&feature=emb_logo

‘Multi-Modal’ use of photographs, diaries, staged and snapshot:

Jim Goldberg – The Last Son: https://vimeo.com/196430394

Theoretical Readings on ‘The Banal’

Shinkle (2004) boredom-repetition PDF enclosed

Pointers for the next assignment / assessment

Do caption your images – rather than ‘_K3P0709’ etc use a naming system that describes the picture (could just be ‘Hollli Kalina Living Room HK001 – where HK is your initials and the first image from that iteration.
This will become ultra important in the next level when you are responding to the codes and conventions of genre and attempting to place your work within a Proffesional context (intending them for exhibition, image libraries, for publication. 10 years from now you will be try gin to find ‘ah those self-portraits I did in the living room’ and your hard drive will be full of 24 TB of ‘K3999899 random titles.
Don’t be tempted to caption images with their ‘meaning’ allow context to emerge as you have done in your very well written proposal.
Strengths Areas for development

Creative approach sampling a range of approaches

Name them and reflect on the practitioners and theoretical influences by referencing the blog.

Learning log summarising your research. Research has a function to inform the practice work so (see above) reface where you got these ideas from and use terminology

Well expressed. Not a negative point. Keep up by reading others blogs, treatments for films etc – to see how they engage the reader and ‘put images in their head’ in order to ‘sell’ the project. This can be done in a poetic way (as you do) rather then just a report. I recommend Wim Wenders (enclosed a as PDF)

A3: Self Portrait

Overview

Approach

Inspired by Elina Brotherus’s honest depiction of herself (The photograph as contemporary art p165), I wanted to include myself in the frame. My approach was to include a staged tableau but to be less performative in style. I wanted to be present in my images but un-posed and apparently unaware of the intrusion.

Nigel Shafran’s images of the banal (Shafran N. (1999) Dad’s office -1997-1999) [online] Nigel Shafran website. Available from: http://nigelshafran.com/category/dads-office-1997-1999/. Last accessed 10/08/2020. encouraged my exploration of the banal.

I employed a typology approach, confining the tableau to the extreme edges of my sofa. This repetitive imagery was employed to express the feeling of monotony that I was experiencing whilst living cooped up in a small space for weeks on end. I wanted to invite the viewer to extrapolate the elements of the scene into a story, to support the narrative in my diary entries. As explained in Context and Narrative in Photography (2020) “Creating a typology…promotes comparisons between photographs”.

Capturing the Images

Processing the Images

Using Adobe Bridge and ACR I edited the tone and colour of the images to achieve as close to uniform levels as I could.

During the editing process I experimented with cropping images to focus on the subject of the portrait but the results lacked the mundane messaging that I was looking for, appearing more like a series of candid snapshots. I decided to retain the original straight out of camera crop. Whilst not as confined as the square format of Peter Mansell’s work which we explored earlier in the course, the combination of mundane tableau and typology strategy created a similar feel. I decided later in the editing process to present the images as vertical diptychs. This approach achieved a number of things;

The number of images increased, thus more information could be presented.
The viewer is invited to compare the two halves of each final image and to extrapolate a story to fill in the gaps between the two. As explained in Context and Narrative in Photography (2020) “Visual continuity and uniformity in a set of photographs offers coherence and allows the viewer to perceive each image as part of a larger argument”.
Visually the vertical diptych image creates a stronger more confined aspect ratio than a single landscape image. The proximity of the two halves presents an aspect ratio closer to square.

I utilised some of the skills in Adobe Photoshop that I had learned earlier in the course to fit two images onto one canvas and to match the colour and tone of each half before exporting to Adobe Lightroom where I finalised the images. I printed one or two of the final images onto semi-gloss photo paper and pinned them to my study wall for a few days. Living with the images for a period of time helped to support the final editing decision.

Reflection

Overall I am happy with the results from this assignment. The final edit supports the narrative of my diary entries, the chosen presentation connotes an atmosphere of mundane repetition. As I progressed I recognised that there were things that I could have done better…

I discovered new technical skills whilst working on this assignment, using Photoshop for far more of the editing process. In the course of this work I utilised masks, clipped adjustments, gradient layers, image and layer resizing. Edits that I would normally make in Lightroom. I intend to spend more time studying Photoshop.

I could have decorated my lounge in something other than yellow wallpaper, the reflected yellow light causes problems with skin tones.

Images and Diary Entries

Day 1 Monday 27th April

_K3P0889

Day 2 – Tuesday 28th April

Day 3 Wednesday 29th April

_K3P0709

Day 4 – Thursday 30th April

Day 5 – Friday 1st May

_K3P0797

Day 6 – Saturday 1st May

Day 7 – Sunday 2nd May

_K3P0743

Day 8 – Monday 4th May

Day 9 – Tuesday 5th May

_K3P0813

Day 10 – Wednesday 6th May

Day 11 – Thursday 7th May

_K3P0848

Day 12 – Friday 8th May

Day 13 – Saturday 9th May

_K3P0864

Day 14 – Sunday 10th May

_K3P0912

Bibliography

Short M. Leet SK. Kalpaxi E. (2020) Context and Narrative in Photography. 2nd ed. London. Bloomsbury Visual Arts. pp126-127.

Cotton S. (2016) The Photograph as Contemporary Art. 3rd ed. London. Thames Hudson.

Bate D. (2009) Photography the Key Concepts. Oxford. Berg.

A2: Photographing the Unseen.

Overview

This assignment required a subject that might be considered “unphotographable” The first requirement of the process was to identify subjects that fit this remit. I identified the following:

Ageing
Belonging
Being myself
Anonymity
Worry / anxiety
Love
Loss / grief

Any of these ideas could have been used as the subject matter for such a photographic assignment. But right now, in the midst of a global pandemic, at a time when our government, scientists and the country as a whole are struggling to find answers I find myself locked down at home. My employment is suspended without end in sight but I am not alone. Across the country millions of people are in the same position, pub’s cafe’s restaurants and all but essential shops are closed, social distancing measures are enforced and our population’s movement is restricted. Considering the above, the answer to the question as to what subject matter to use for this exercise is obvious, it has to be “Pandemic”.

Approach

Background

UK lockdown regulations meant that spending time outdoors was limited additionally that time had to be for essential shopping or exercise. We were permitted to take a camera with us when exercising but that didn’t extend to spending hours outside looking for a photographic opportunity. With travel by car restricted I had to plan how I could capture the images I wanted.

Planning Tools

Apple Notes app was used on both iPad and phone to keep notes of ideas as they developed over time. Mind maps were used to consolidate my thinking, the outcome of which were transferred onto lists for prioritisation. The lists were not entirely prescriptive but used to guide my eye when out with my camera. A necessary approach given the limited time available outside the home under lockdown.

Image Capture

Over the course of several weeks I used a variety of cameras including my iphone to capture potential images, the size of the device chosen to fit either a need for discretion, portability or image quality. However, in post production it became apparent that the images created on the iphone were not of a good standard.

Typology

I used varying photographic styles including; candid, documentary and portrait. it was my intention to present these images together in a reportage style where they create an emotional response from the viewer. Following feedback from my tutor I edited the final set to bring more uniformity, electing to drop the images using text to convey a message in favour of more connotative imagery. The typological relationship between the final images was further strengthened by both the colour grading and the portrait orientation of all images in the set.

Post Processing

Because the images were captured in various cameras it was necessary to spend time equalising the tonal ranges and making them look more cohesive. My intent was to colour grade the images to have the look and feel of stills from the dystopian movie “Contagion”. To achieve this look movie stills were downloaded from the internet and imported into Lightroom. Suitable examples served as reference images whilst developing to produce a similar feel. Camera Calibration, Curves and HSL adjustments were used to add a level of Teal and Orange, to crush the blacks and pull down the highlights to create a flatter image. Grain was added and the image softened to create the required look.

Editing

Because of the lockdown it was difficult to capture as many images as I would have liked. I eventually had to accept that I would need to work with what I had. Lightroom’s star rating and filter options were used to trial a number of edits. Printed contact sheets were used to make a closer selection before moving to individual printed 6X4 images which were printed and “lived with” Following tutor feedback the original selection has been reworked and additional images added to the supplement the original set.

Influences

The emotion of a pandemic needed more than icon centric imagery to convey it, I have sought to convey through metaphor and connotation the fear and unease created by this unseen and potentially deadly assailant.

Peter Mansell’s work “Paralysis (Mansell P. (2016) Peter Mansell Imagery (online), Weebly.com website, available from: https://paralysed.weebly.com/#, last accessed 09/04/2020. where both his imagery and relay text support far more meaningful connotations than a non-coded iconic reading of the subject matter.

Robert Frank’s “The Americans” Frank’s mix of industrial and street views with candid images of its inhabitants demonstrates how it is possible to capture the essence of a location and a time.

The use of colour grading in cinematography for emotional or psychological effect influenced my approach to his assignment. The film Contagion describes, in far more dramatic terms, a global pandemic similar to that in which we currently find ourselves. The Colour grading in the film helps convey trauma, fear, despair amongst many other emotions on a subconscious level. I have sought to convey similar emotion to the viewer by colour grading my still images to replicate a “disaster movie” feel.

Images

Reflection

I found candid photography difficult and the results were poor. I felt far more comfortable stepping back and capturing people moving within a scene, similar to the approach used in exercise 1.3. I used a model for close up images which immediately made the capture process easier.

Reflection in the images of shop windows created the problem. I tried different times of day and used a circular polarising filter but overall results were poor.

The use of colour grading to shape an emotional response from the viewer worked. When comparing the original images straight out of camera with the final selection the sense of unease if apparent, however individual viewers may have different responses.

Reflecting upon tutor feedback I considered the use cases for symbolic and illustrative imagery and re-edited the image set to remove illustrative images. My intention in this assignment was to create an emotional response and their inclusion in the set confused the symbolism and interrupted the flow. The final selection is much stronger for this edit.

Assignment 2: Tutor Feedback

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.

A2: Photographing the Unseen (Draft)

Overview

This assignment required a subject that might be considered “unphotographable” The first requirement of the process was to identify subjects that fit this remit. I identified the following:

Ageing
Belonging
Being myself
Anonymity
Worry / anxiety
Love
Loss / grief

Any of these ideas could have been used as the subject matter for such a photographic assignment. But right now, in the midst of a global pandemic, at a time when our government, scientists and the country as a whole are struggling to find answers I find myself locked down at home. My employment is suspended without end in sight but I am not alone. Across the country millions of people are in the same position, pub’s cafe’s restaurants and all but essential shops are closed, social distancing measures are enforced and our population’s movement is restricted. Considering the above, the answer to the question as to what subject matter fto use for this exercise is obvious, it has to be “Pandemic”.

Approach

I used the apple notes app on both my iPad and phone to keep notes of ideas. I used mind maps to help me consolidate my thinking and transferred the outcome of the mind map into lists that I could then prioritise and work towards when planning my photography.

The lockdown meant that spending time outdoors was limited and that time had to be for essential shopping or exercise. We were permitted to take a camera with us when exercising but that didn’t extend to spending hours outside looking for a photographic opportunity. With travel by car restricted I had to plan how I could capture the images I wanted.

Over the course of several weeks I used a variety of cameras including my iphone to capture what I was looking for, the size of the device chosen to fit either a need for discretion, portability or image quality. I found that working to a plan where I knew when going out what it was that I was trying to capture really helped. The plan gave me time to consider the methods I could choose to capture the shot.

I used varying photographic styles including; candid, documentary and portrait, ultimately however it was my intention to present the images in a reportage style set where the images created an emotional response from the viewer. This process underlined how images can be created for one purpose and used for another as some of the images could be used as photojournalism or documentary purposes as well as my intended purpose.

Because of the lockdown I found it difficult to capture as many images as I would have liked. I eventually had to accept that I would need to work with what I had. I spent several days shuffling them about in lightroom, I even printed contact sheets and “lived with them” looking at them throughout the day. Once I had a shortlist I started the editing process.

Because the images were from various cameras I spent time equalising the tonal ranges and making them look more cohesive. My intent was to colour grade the images to have the look and feel of stills from the dystopian movie “Contagion”. To achieve this look I downloaded some movie stills from the internet and imported them into Lightroom. I picked a suitable example and used it as a reference image whilst developing mine to have a similar feel. I used the calibration, curves and HSL tools to add a level of Teal and Orange, to crush the blacks and pull down the highlights to create a flatter image. I also added grain and softened the images to create the look that I wanted.

The final result is a sequence of images that are not particularly subtle in their messaging. I interspersed obvious visual messages taken from high street shop windows with dystopian street scenes and images of people wearing face masks. It was not my intention to add any form of text with the images, they needed to speak for themselves. They are intended to be viewed as a sequence as numbered as I believe this produces the strongest narrative.

A1: Tutor Feedback

The following is the feedback received from my tutor Gary Clarkson following my submission of Assignment 1: Two Sides of The Story.

Overall Comments

A well progressed experimental submission whilst honest and aware of limitations and
descriptive tendencies. Some teething trouble with submissions – putting them on the blog first rather than sending as files to then revise – but really quick response to the request and refined already. Broad ‘discourses’ surrounding narrative strategies and storytelling for this level are being researched and engaged with (of course more to do). Honest self-reflection and engagement with more difficult concepts ( strait v expressionistic visual language and linear/associational modes of storytelling), as well as apt critical references (Azoulay) self-aware constructive and an imaginative interpretation working within the constraints of a reportage.

Assignment

Awareness of a good breadth of contexts and debates supporting your growing knowledge and understanding. Work through the various techniques and problems – such as use of photoshop v a more useful software such as Lightroom (if available) and consider a third person write up which also draws from the blog as research (even referencing your own blog) this will give you the building blocks for a good written proposal and self-evaluation for the formal and conceptual elements of the assignment. I’ve enclosed your reflection write up with annotations (which include artists to look at further) so won’t repeat them here but summarise below the main points.

Assessment potential

Assignment 1

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment
requirements.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of
Creativity

• Development of good visual and technical skills, and use of the reportage storytelling.
• Consider other modes (see – readings) but don’t negate the fact that it’s a worthwhile
endeavour and well handled.
• Caption images and begin to use a file name which is easier to both reference (for me) as well as in line with practice for submission to libraries/agencies etc. eg instead of
‘_K3P9811’ try ‘Neil Williams exhibition (gallery?) HK001 (where the is the first in series and HK is your initials. This will encourage and interpretation by the viewer as well as have currency in the future if it was sent to a publisher/library.
• Layout of images on the blog doesn’t do them justice. Use comparison of inner/outer
outside/behind the scenes juxtaposed perhaps?
• Would be good to see all the images you shot (if there are more) in a contact print and
show why you selected them. Eg, _K3P9656 and _K3P9892 are essentially saying or about
the same thing. Similarly _K3P9659 and _K3P9661 (do you need the close up – its about
context). Stepping back (if able) to show the champagne in context with the gallery space
too would have worked (_K3P96860)

Coursework

Demonstration of technical and Visual Skills, Demonstration of Creativity

• Use the study of others to influence your own work and self-reflections of that work.
• For example, you could have shown your work for this assignment in the same way as the Sarah Pickering to show comparisons.
• It looks like you have read Barrett’s contexts with your statement that ‘external context is, I think, intrinsic to how these images are viewed’. Do reference these in your self-reflection
• Include an indication of process records in your blog such as contact prints (annotated)
and lightroom/photoshop records of how you corrected selected images.

Research

Context, reflective thinking, critical thinking, analysis

• There are two levels of research here: visual/process and contextual/historical.
• They are both working well and well documented in your learning log.
• I would encourage you to engage with your peers via OCA’s discuss site if not already done so. OCA blogs: an outline of the different storytelling modes such as Chloe Dewe Matthews using a more associational visual language rather than a strict linear narrative: https:// http://www.oca.ac.uk/weareoca/creative-arts/photography-that-gets-people-looking-thinking-
and-talking/

Learning Log

Context, reflective thinking, critical thinking, analysis

• Your reflections on the blog are critical and appropriate.
• Particularly enjoyed your reflections on ‘Do images of war provoke change?’ it was
insightful and shows confidence with critical references. Use this similar research to delve into debates or processes particular to the assignment – such as storytelling modes, process/selection or representation of the ‘artist’. You can then reference this in the self-
reflection. See ‘visual stance’ below.

• Make comments on the OCA blogs which match this on going research so that you are
talking part in the discourse. See weareoca in ‘readings’ below.

Pointers for the next assignment/assessment

• Continue Learning log that records your ‘artistic journey’ and matches assignment with
critical readings.

Strengths Areas for development

Strong technically with considered formal
coherence.

one or two images ‘say the same thing’ so include
other contextual images

Reportage storytelling is well formed use your research (such as David Hurn and Joel
Colberg) to discuss alternative narrative.

Links with your own work Consider third person writing for the essay showing an analysis of why the practitioners you mention use the strategies they do.

Tutor name Garry Clarkson
Date 01 August 2019
Next assignment due 10 October 2019

A1: Two Sides of the Story

Assignment:

This assignment is designed to give your tutor a feel for your work and won’t count towards your final grade if you decide to have your work assessed. However, the assessors may wish to see it so that they can gauge your progress across the course.

Create at least two sets of photographs telling different versions of the same story. The aim of the assignment is to help you explore the convincing nature of documentary, even though what the viewer thinks they see may not, in fact, be true. Try to make both sets equally convincing so that it’s impossible to tell which version of the images is ‘true’.

It might be interesting to consider the project as evidence for a court case. What conflicting stories can you make your images convincingly tell? Would it stand up in court? However, you choose to interpret the brief, ensure the images are candid and ‘taken from real-life’. Be experimental and take some risks. Perhaps you could make a list of ideas and choose the most challenging or absurd option to stretch yourself.

Send your sets of images to your tutor by the method you’ve agreed to. Include an introduction of 300 words outlining what you set out to do and how you went about it. Also, send to your tutor the relevant pages of your learning log or your blog URL.

Approach:

I struggled with the use of the word “truth” It suggests that there is only one truth and the alternative is lies. The world contains many “truths” all of which may be an accurate summary of events but from a different perspective or a different time. Ariella Azoulay (B. 1962) establishes in her work “Civil Imagination – A Political Ontology of Photography” that whether an individual, seen as a terrorist or as a freedom fighter, is merely a judgment based upon the perspective of the observer, or upon the time within which events take place.

I have avoided differentiating between truth and falsehood. Both of the sequences shown are, from my perspective, true, but I have to leave it to the viewer to take from the images whatever they perceive as the truth. I will have subconsciously created connotations or suggestions within the compositions which expose my thoughts and feelings about the subject matter.

The objective of this work is to contrast the opening of a brand new gallery space in the center of Cowes on the Isle of Wight and its pomp and ceremony with the “behind the scenes” reality of the hard work necessary to make it happen. Both sets of prints are the truth, but the perspectives are very different.

The gallery space was created within three dilapidated buildings on Cowes High Street and required significant physical effort, financial risk, and determination on Neil’s part in order to make it happen. The buildings have been combined and transformed over a period of six weeks into a functioning gallery, printing and framing space.

The intent was to capture the physical effort and stress involved in creating the gallery but also to include a subtext about the daily workload of a local fine art photographer. The work includes images that show the making of frames and stretching of canvases as these are a major part of Neil’s workload. Images of Neil with his family provide background context and an image of the entire team responsible for the work is included for further context.

The Opening Event images capture a party atmosphere but also attempt to show the necessary gloss applied to the underlying hard work. It was equally important to capture the celebration and pride in the achievement of Neil, his family, and a small team.

Revised Image Selection:

Contact Sheets:

Bibliography:

Azoulay A. (2015), Civil Imagination: A Political Ontology of Photography, Verso, London.

Barrett T. (1986), Art Education, Vol. 39, No. 4. pp. 33-36, National Art Education Association, Available from http://terrybarrettosu.com/wp-content/uploads/2017/08/Barrett-1986-Photographs-Contexts.pdf Last Accessed 19/08/2019.