Correction

CORRECTION: I have decided to do the Digital Image & Culture unit rather than the Landscape one.  I shall still call it mylandscape2016 because that’s what it is, really, with a lot of imagination, which is what I hope to develop over the next 18 months or so.

 

Please follow me on that blog: https://mylandscape2016.wordpress.com

Documentary results

The results are out & I have passed.  There were many positives in the summative assessment:

“Overall Comments and Feed Forward

The assignments and related research were clearly laid out and easy to access on your learning log. It was clear that the research carried out during the course of this module has fed directly into your practical work. Your assignments reflect the fact that you have read and looked widely at others who work in similar fields. Good studentship is an important part of the course. As you mention yourself on your blog, further work needs to be done in terms of the quality of your printing. Attending to this in your next course of study will certainly help strengthen future submissions. The assessors particularly liked assignment five, where you presented a coherent concept, with consistent quality throughout.”

 

If you wish to follow me on my journey through landscape photography, follow me on

http://mylandscape2016.wordpress.com

 

 

 

New blog site

Hi all,

 

I have decided to do the landscape module next as part of my OCA journey & have, therefore, set up a new learning log / blog

So far, I have just uploaded some  reviews of the exhibitions I went to at the end of January.  They include the Alec Soth which was an OCA study day, my Saul Leiter and Peter Kennard reviews.  Peter Kennard has reblogged my review of his work – he obviously enjoyed reading it as much as I enjoyed seeing his work for the first time!

If you enjoyed my blogs on this blog, I would love you to follow me on my new blog.

Best wishes

Anna

 

 

 

 

Documentary photography: Assignment 6 & tutor feedback.

 

 

Photography 2: Documentary

Assignment 6:Pre-assessment review

Notes following a link-up with the tutor .

Bullet points from the conversation:

  • Assignment 5: on iMovie, edit the last 10 seconds of the video; explain why I included it, its merits and my feelings about doing something more conceptual and experimental because, as it stands, it does not tie in with the rest of the work.
  • the prints are a problem: they are not as sharp as the images on the blog – I must investigate the paper, the sharpness & contrast settings I used particularly with regard to the skin tones of the people in the images.
  • I need to add a ‘Personal projects’ tab on the menu but it’s not obvious how to do that – I have tried but, although the tab shows up in the edit options, it does not materialise on the blog & that may be because I am using the OCA template.  So I must put the projects under the ‘Notes’ tab.

Submissions for assessment:

  • explain the huge difficulties I have had with the image printing both at home & with external printers.
  • 3 of the 9 prints I sent in are ok.
  • Ass 3 is the weakest & Peter suggested removing the 3 which in his opinion do not fit in with the rest, following the trend set by Ruscha 30 years ago to photograph the same idea in different settings.
  • In trying to assess how I have performed overall, I asked several questions, the answers to most were of necessity vague: yes was the answer to the following:
  • have I shown appropriate research & writing skills; do i have a sound knowledge of theories, prevailing ideas & contexts; have i developed an awareness of contemporary social & ethical implications in documentary photography; have i shown an ability to analyse, compare & synthesise my findings; can i apply what i have learned to my creative work; group work; ability to evaluate my own work; personally led project work; ability to contextualise & develop a personal voice; can i show how i image my subject.

Conclusions:

I must

  • work on my video & substantiate it more vigorously.
  • rework elements of assignment 3
  • fiddle with the contrast & sharpening sliders on the images prepared for print submission & try out different printers and papers.

 

Formative feedback

 

Student name Anna Goodchild Student number
Course/Unit Photography 2: Documentary Assignment number 6
Type of tutorial video  

Overall Comments

I think that the Skype tutorial went well, I am glad that you found it useful.

I do think that if you have the courage of your convictions and are willing to continue taking some risks, like the video for example and selecting the images that you really want to rather than trying to comply with some pre-formed, set in stone ‘story’ you will develop a your personal voice…it isn’t there yet but I think that I see potential. How evident this will be to someone coming cold to your work at this stage is difficult for me to say as I have the advantage of having worked with you and talked to you so don’t be dispirited if the assessors are unable to give you much credit for that yet…go forward into the next unit determined to be true to yourself, take risks, and see where each brief takes you rather than pre determining and pre-visualising everything.

Good luck for the future.

 

Feedback on assignment and supporting work

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

Notes made by the student after a video tutorial

* Assignment 5: on iMovie, edit the last 10 seconds of the video; explain why I included it, its merits and my feelings about doing something more conceptual and experimental because, as it stands, it does not tie in with the rest of the work.

* the prints are a problem: they are not as sharp as the images on the blog – I must investigate the paper, the sharpness & contrast settings I used particularly with regard to the skin tones of the people in the images.

Tutor’s note on this: I didn’t and don’t want to give you instructions on what to do to the prints, (after all it is not an exercise in how well you follow instructions!) but I do think that if you address the washed out lighter tones and overall contrast issues (explore whether it is too much ‘clarity’ or something else) you may well be there. * I need to add a ‘Personal projects’ tab on the menu but it’s not obvious how to do that – I have tried but, although the tab shows up in the edit options, it does not materialise on the blog & that may be because I am using the OCA template. So I must put the projects under the ‘Notes’ tab.

Tutor’s note on this: I understand you have resolved this.

Submissions for assessment:

* explain the huge difficulties I have had with the image printing both at home & with external printers.

Tutor’s note on this: Do experiment with different third party printing establishments.

* 3 of the 9 prints I sent in are ok.

* Ass 3 is the weakest & Peter suggested removing the 3 which in his opinion do not fit in with the rest, following the trend set by Ruscha 30 years ago to photograph the same idea in different settings.

Tutor’s note on this: Remember to explore the ideas behind Typology and neo-Minimalism

* In trying to assess how I have performed overall, I asked several questions, the answers to most were of necessity vague: yes was the answer to the following:

* have I shown appropriate research & writing skills; do i have a sound knowledge of theories, prevailing ideas & contexts; have i developed an awareness of contemporary social & ethical implications in documentary photography; have i shown an ability to analyse, compare & synthesise my findings; can i apply what i have learned to my creative work; group work; ability to evaluate my own work; personally led project work; ability to contextualise & develop a personal voice; can i show how i image my subject.

Tutor’s note on this: I want to emphasise that you are only at the halfway point of your degree and you must keep on developing your research and understanding of the ideas and debates surrounding current practice. The difference between your first and revised efforts with your critical review show how much referring to current debate rather than just to one’s own gut feelings may alter the result.

Conclusions:

I must

* work on my video & substantiate it more vigorously.

* rework elements of assignment 3

* fiddle with the contrast & sharpening sliders on the images prepared for print submission & try out different printers and papers.

Tutor’s note on this: I think this covers the points we discussed.

 

Learning Logs or Blogs/Critical essays

Context

Your blog has been an interesting read and you have covered a lot in it. You need, during your next module, to discuss in greater depth the implications of the work you are viewing from the perspective of current debate. Some of the texts below might interest you in moving forward particularly if you remain with your decision to do Landscape.

 

Suggested reading/viewing

Context

Benjamin, W., n.d. The Arcades Project. [Online]
Available at: http://monoskop.org/images/e/e4/Benjamin_Walter_The_Arcades_Project.pdf
[Accessed 23 07 2015].

Billingham, R., 2008. Landscapes 2001-2003. Stockport: Dewi Lewis Publishing.

Bolton, R., ed., 1989. The Contest of Meaning. Cambridge(Massachusetts): MIT Press.

Cramerotti, A., 2011 . Unmapping the City: Perspectives of Flatness. Bristol: Intellect.

Davis, J., 1992. Cross Currents. Cardiff: Ffotogallery.

Farley, P. & Roberts, M. S., 2011. Edgelands. London: Jonathan Cape.

Krauss, R., 1989. Photography’s Discursive Spaces. In: R. Boston, ed. Contest of Meaning: Critical Histories of Photography. Cambridge,MA.: MIT Press, pp. 286-301.

Moore, A., 2010. Detroit Disassembled. Akron: Akron Art Museum.

Morris, J., 2010. A Landscape of Wales. Stockport: Dewi Lewis Publishing.

Rosler, M., 2006. 3 Works. Halifax: The Press of the Nova Scotia College of Art and Design.

Taylor, J., 1994. A Dream Of England. Manchester: Manchester University Press.

Tuan, Y., 1997. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota.

Wells, L., 2011. Land Matters. London: I.B. Tauris & Co Ltd.

These are suggestions that you might like to look into and some are difficult to find unless you have access to a very good library (out of print and very expensive 2nd hand)   there are images form Billingham, Davis, Morris and Rosler to be found via the internet. I cannot recommend the Taylor too highly and I think you may well have mentioned Edgelands already.

Good luck with it anyhow.

How we see our town: a project with the homeless of Paignton.

In one of my coursework exercises for the Documentary Photography module, I read about the Kickstarter project in London.  I have followed the example and set up a similar one in Paignton, Devon.  I have bought 20 disposable, 27 exposure Kodak cameras and have issued 6 so far.  I shall issue another 7 in January and another 7 in April.  I initially wanted to hand out all 20 at once but, in discussing the project with the centre manager, we decided that doing it this way was probably going to be more successful in getting the cameras back.

 

The place is a drop-in centre called The Haven & is in the central shopping area of the town.  It is run by an ex-teacher & preacher called Paula, dubbed Mother Theresa of Paignton, who is doing fabulous work in helping very vulnerable adults.  I first came across her when, with my husband, I volunteered to help with night shelters for the homeless in Paignton in February, 2015.  We slept in the same church and were a listening ear if anybody needed to talk to someone.  We were way out of our comfort zones and had a reality check on our attitudes to and preconceptions of homeless people.  I therefore decided to help Paula raise some money for the centre by giving the homeless a chance to contribute by using their creative talents in taking photos of how they see the town.   Some of them will be part of the selection panel to decide on 12 images for a calendar for 2017 which will be sold in and around Paignton.  Members of Paignton Photo Club will also help to select the images and to sell the calendar.  I envisage using one of the many empty shops as an exhibition centre to exhibit the images, hopefully.  I now plan to apply for funding & that is going to take some doing as I have never filled in those myriad forms before.

DSCF8247 1 2400px

Our F.J.Widgery book is done!

Personal group project:

 

Our club has marked the end of our project following F.J.Widgery around Dartmoor by publishing a book on our efforts.  The book was a collaboration by 11 photographers and 1 artist, an ex-OCA student Jim Lloyd who rallied to my request for artistic input.  This request came because  the book, Perambulations of Dartmoor, in which Widgery’s plates first appeared in 1896, also had wood cuts and ‘vignettes’ to illustrate it.

We will now focus on finishing our other project which ran concurrently with Widgery, “Edgelands”.  We have been busy with this for 2 years now recording what is happening on the outskirts of town & will soon revisit our initial sites to do a comparative reckie!

BUs stop HP DSCF2805 1400px

 

 

Susan Derges, Jem Southam and Paul Gaffney at the Bristol symposium on Sound, Words and Landscapes:Beyond the visual .

I am covering the presentations of these three luminaries because, to me, they were covering the same ground.  All three were interested in walking the landscape but  they saw the activity differently.  Jem reflected on how we carry others with us on our walks, how we walk with our histories and how we walk in the footsteps of others.

Paul Gaffney, whose exhibition we attended on an OCA study day 2 years ago was called “We make the path by walking”, focused on the absence of sound and the stillness in landscape photography.  I found this a challenging concept because it is not what I have experienced in my landscape photography.  I am, in fact, doing the opposite: trying to show that landscapes are more than visual experiences, there are  noises and sounds and the rhythms and heartbeats of nature are not our own.  Gaffney sees the poem by Antonio Machado which inspired his work “Wonderer, there is no path.” as  conversation without sounds.

Song XXIX by the poet:

Traveler, your footprints
are the only road, nothing else. Traveler, there is no road;
you make your own path as you walk. As you walk, you make your own road, and when you look back
you see the path
you will never travel again.
Traveler, there is no road
only a ship’s wake on the sea.

 

images-3

Susan Derges wants to show in her work her desire to get close to the place she is photographing, to have contact with nature and to have an exchange with nature.  She sees nature as permanently inconstant and her response to it changes too.  She experiences a tension when she tries to get things to reveal themselves particularly in her series on trying to put photo paper about 10cm below the surface in a pond & seeing what she has after having set off a flash.  She feels that she has a tactile rather than an intellectual involvement in nature.  In feeling tuned in to the place, she experiences a continuous awareness of what is going on in the place.

 

images-4

All three photographers have their own ways of interacting with the landscape.  Of course we have to walk the landscape if we want to photograph it, but our intentions while doing so are never the same: these photographers showed me that your influences determine your approach and colour your outcomes.  I may have oversimplified the essence of the talks but this is what they meant to me.

My OCA photography course learning log, exercises and assignments will be here.