My work in this project so far has been quite good. I started research early, from a variety of sources and had a general idea of what I wanted to document. This was further refined through group and individual tutorials as well as through research. I used a variety of sources – more than I have ever used for any one given project. This included a range of photojournalistic/narrative photography sources, where historical and contemporary practices are implemented. In addition, TEDx talks, videos/documentaries, Magnum Contact Sheets, traditional photography, books, Professional Photography magazines, the BJP, art based multi-media practitioners as well as material from exhibitions (for example Photo London) informed my research and practise.
I found it quite difficult to get a balance between commuting to attend so many lectures and finding time to take new material. It is common that final year students only attend taught sessions for 2 days a week in order to allow time for creative processes but our course is different from that approach. Whilst we are creative practitioners in training and still developing our own styles, it has been argued that trying to emulate other established photographers work can help discover techniques faster. Conversely, photographers such as Peter Marlow highlighted (in the November 2016 issue of Professional Photography) that his style began to develop when he stopped trying to copy Henri Cartier-Bresson and did his own thing. Balancing all of this industry advice as well as more traditional tutor advice was a little difficult. Lastly, in the same magazine, an art director anonymously cited the gender imbalance in industry photographers being on agents lists for representation and how the emerging photography style of today is too homogenised – “we need creative and fresh thinkers”.
Documentary projects of this nature, are at best, very time consuming and are rarely completed in a year. Some of the photographers I have analysed have spent up to 8/9 years on a personal documentary project whilst I barely have 9 months to realise and execute mine. One must also consider the ethics of the research I am doing and the type of photographs being taken, potential and past eviction experiences related to gentrification are not topics in a petri-dish, they are real, and those who experienced it will naturally have feelings about it.
Living in London (born & bred), in particular, the borough I am in, engenders interest and a reputability more than living where my University (Hertfordshire) would have. The project has developed quite nicely, considering all of the above factors, and I will capitalise on making further contact with the relevant potential subjects before everything slows down for the Christmas holidays. This will be with a range of people gentrification affects/involves and not just ‘victims’ will help to widen the story a bit more, an provide access to more people. Lastly to continue developing the story, shoots need to be occurring more regularly so that I can have more material to refine the ‘final story’ – especially continuing my spatial arrangements of printed photographs.
(reposted from a different section of my blog from over a month ago)
This is probably one of the the hardest aspects for me. I am not sure if others can relate or if this is a personal thing. So, I went out with my camera and took some photographs on location. I did not ‘chimp‘ and changed lenses a couple times (f/1.8, 50mm and f/5.6-6.3 50-250mm). I left the images for 2 weeks (yes 2 weeks) before I even looked at them on my computer. In that time I did extra research on other artists, photographs and some paintings (see my blog for relevant Artist Studies to follow).
When I did upload the images to my computer, I followed the process of proofing in Bridge then exporting to Photoshop etc. I work in BOTH digital and analogue but I am on a limited budget this year. I’ve been working with analogue material for almost 5 years now and this gives me a pretty good idea of the image aesthetics I am after. I followed a series of editing processes in Photoshop to get my digital work to resemble my film work.
One of my most striking images was similar to the one above but I had to reject it from the series – yes reject, and here is the reason why. No matter how striking the image was on its own, it is ultimately part of a series. When I was viewing it, it was ticking the boxes – a finished look, good composition, good tonal range and good exposure but it didn’t have the same message as a slightly similar image to it, nor did it speak the same visual language when it was grouped with other images from the series (click herefor the Project post on arranging images in space). Editing your work is a brutal process but for every image you ‘reject’ your work becomes more refined and your thought process clearer. Ultimately, so does the message you want your photographs to tell.
(This is a repost from a different section of my blog posted last month)
Following a test shoot 2 weeks ago and a tutorial with Diane Bielik, we were reminded that as photographers we are visual people. There is absolutely nothing wrong with planning shoots, refining concepts and evaluation with words but we need to plan visually.
How do you that?
By putting together a series of test images and printing them out! Images behave very differently on the computer screen than on Instagram, your online portfolio or a studio wall. Think about your end result. If your exhibition will be on a wall or in a gallery, it is pointless to have your collection on a folder on your computer and scramble to curate your work on a wall/physical space a week before the exhibition.I was advised to put together a working edit of prints (and negatives) I had from my previous exhibition that has been extended and see how they interact. I will admit, I was very hesitant to do it because it would remind me of how much more work I have to do and improve. I got over myself and did it and the change happened instantly!
Image arrangement 1
Image arrangement 2
Notice how this was arranged, purely on what visually looked good together. I walked away from the wall space, came back 5 minutes later, did some rearranging and then this happened…
Notice how with minimal rearranging, the set of images become more balanced and already the ‘pairs’ or ‘triplets’ that should move together are being formed. I went on to refine this set of images, reject two and note down what the collection need more of but what I learnt was so powerful I had to share. We as photographers are visual people, do not be afraid to do this type of proofing with your series work, the results will change your practice forever.
“I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance. ”
Alec Soth b.1969 is a Magnum Photographer whose distinct style is documenting performance photography. When I first saw his images I felt like I was ‘waiting for the next scene’ almost like watching a movie. When I did some research into his photographic style the reason became clearer.
He photographs large geographical territories (Mid-West USA) with various subgenres – nature, people etc but has a way of making the process seem like an adventure and the photograph becomes the document. His photograph reminds me of childhood movies like Huckleberry Finn and bear a feel reminiscent of that story. He currently has a brilliant exhibition at the New Media Space, Science Museum – Gathered Leaves (review soon to follow) and was featured in the British Journal of Photography October 2015.
Below are some of his images I found interesting as well as a personal reflection.
USA. Vasa, Minnesota. 2002. Charles
USA. Minneapolis, Minnesota. 2000. Kym, Polish Palace.
USA. Baton Rouge, Louisiana. 2002. Patrick, Palm Sunday.
COLOMBIA. Bogota. 2003.
I will be considering his technique of capturing a still and making it appear ‘as a scene/living picture’ in my personal practice. Sometimes a photographer is unable to translate a sense of movement without obvious tools such as shutter speed simply because one frame does not always tell the whole story. Instead of using this point of view I will consider how my ‘one shot’/series can tell the most exciting part of the story.
Another iconic thing that Soth has done is find the most ironic juxtapositions/locations for the relevant portraits [see above the Palm Sunday photography]. Whilst street photography should not be directed as such – locations and subjects will be carefully considered in my framing.