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.

Concepts And Planning: FMP

(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!

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.