Reflection and demonstration of learning following my tutor feedback

In my tutor feedback, Les has asked my not be too hard on myself and this, sadly is a personal trait that has been with me prior to having the ability to hold a camera. I will however try, going forwards, to keep a little distance in my self-critique, remain reflective and not be overtly self-negative. This is a good point made by Les and one we have discussed over Skype. This will be demonstrated in more depth on my Context and Narrative course.

Be careful when choosing black and white, was another well-made critique. This was discussed at length and also in previous assignments with Les. Les knows I love black and white images (Sally Mann in particular), however on reflection, I have listened and taken on board this feedback. My final selection is in colour, as they were recorded on my sensor.  I agree the colours do show the narrative more clearly, possibly because the lighting was poor in church and partly because this is how we would have seen it with our own eyes. This is something I have discussed in the past with Les and I now get it. With the black and white set, I was trying to show the “truth” of the Liturgy, but colour is unedited and therefore it must be closer to the truth than converted images, which have undergone a transformation process.

I have made my final edit based mainly upon colour and shape, with the final image showing the Metropolitan, as a “real” person and not just a senior member of the Orthodox church.  I feel this adds to the narrative and places him as an individual. This image also enhances the feeling of being there, due to the depth of field and the fact that this is shot over someone’s shoulder.

I have listened and taken on feedback from Les about eye contact, losing impact in the series and affecting the overall feeling of this narrative. I have ensured no images in my final selection have any eye contact with me or the camera. I did not feel this was a problem prior to my tutorial, however on reflection I feel that this is a fair critique and the final edit is now better for it. Any eye contact simply places me in the scene as a photographer with a camera (weapon of intrusion) and loses the impact and feeling that the viewer was there (in the church), rather than the viewer just looking at a photograph.

I have made a further 3 re-edits since my Skype with Les, all of them in colour and I have used prints to do this rather, than on-screen images. This is something I have learned during the course and this type of editing is more beneficial than on-screen editing. The re-edit amounted to a further five hours of work, but this was well spent, not only as the final edit is better than my original, but it has given me further opportunity to practice this art, which is not by any means easy to master.

I have added the original edit and the final edit side by side below, to showcase my final series and to demonstrate my understanding and the progress made, even within the final assignment.

I have also chosen images that are both portrait and landscape, after discussing this with Les. He felt that this would not distract from the narrative. In my first edit, I had purely concentrated on portrait images, as I was under the impression that seriality can only be achieved in one aspect ratio. Examples of mixed ratios can be seen in Sally Mann’s Family Pictures featured on her website. Please refer to http://sallymann.com/selected-works/family-pictures (accessed 23/03/2017).

Please refer to my prints that I have submitted for my assessment, as the images need to be seen in print, in order to gain the optimal viewing experience.

As a postscript to this I have managed to sell over 200 images from the images on my contact sheet, with all the proceeds being generated to the church.

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Final Tutor Feedback

Overall Comments

A fitting end to the course, once again challenging yourself attempting to assimilate a variety of influences whilst documenting an event close to you.

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

Notes from, and in addition to, our Skype tutorial :

We discussed your overall self-evaluation, its good to be critical but don’t be too hard on yourself. This is the first course in your first year and as you note, you’ve already come a long way. Always remember your best photographs are ahead of you!

The photos in this submission do the job of recording the visit. Important details in the service are noted, interactions are observed, and key elements of the Liturgy shown.

Your sequence shows us the narrative of the event.

The processing and rituals are well observed. You are successfully showing us what goes on in an unfamiliar (Greek Orthodoxy historically being a minor religion in the UK) environment.

We discussed your use of the close up, we as viewers get the feeling of being the ‘man in the crowd’, its less like you’ve got a camera and more like a person’s eye view.

This is paparazzi style, documentary, the blurred shoulders in the foreground are a typical indicator. All to give us the feeling that, not only did this happen, but that we were there.

You had to use the highest iso (3200) setting that you’ve ever used. The prints are fine, however, and your camera is obviously up to the job. In your choice of black and white you need a little more justification. The contrasts were a little dulled by the low light. The colours of the robes, fabrics and ephemera are so attractive that really we need to see them.

You are best placed to not fall into the trap of Orientalism, whilst still showing us something culturally interesting. In effect you are a bridge between our worlds.

We went through the contact sheet again choosing images on colour, composition and illustration of the event. Remember not to break the spell of the observer by having eye contact with audience members – we want to be engrossed in them being engrossed.

Learning Logs or Blogs/Critical essays Context

Good to see you continuing to read and review. This all stands you in good stead.

Suggested reading/viewing Context

Keep cross referencing from Bate, Bull and Wells, and try to find a new contemporary or historical photographer a week.

Pointers for the next assignment

For assessment; showcase your learning, point to where you’ve used a reference, where you’ve listened to advice, how you changed things – show your process.

Assignment five re-edit

I was asked by my tutor to re-edit, even though he felt my original posting had met the brief for the assignment. He felt the assignment would be better for the images in colour and he asked me to concentrate the re-edit on colour and then shape. My final edit is below.

I await his written feedback, which will be posted upon receipt. I  was told previously  to make a series uniform, in regards to the  aspect ratio i.e. landscape  or portrait, but on this occasion  I have been asked to mix them up. Hence my edit below.01-20170212-Nick Ward 516128 EYV Assessment Images02-20170212-Nick Ward 516128 EYV Assessment Images03-20170212-Nick Ward 516128 EYV Assessment Images04-20170212-Nick Ward 516128 EYV Assessment Images05-20170212-Nick Ward 516128 EYV Assessment Images06-20170212-Nick Ward 516128 EYV Assessment Images07-20170212-Nick Ward 516128 EYV Assessment Images08-20170212-Nick Ward 516128 EYV Assessment Images09-20170212-Nick Ward 516128 EYV Assessment Images10-20170212-Nick Ward 516128 EYV Assessment Images

EYV reflection

One of the most important learning points I have come across during this course is to reflect upon my work and also to reflect upon the work of other artists. I have completed a number of other photography courses including some with the OCA and the Open University. However, I can say that this course has stimulated a wonderful thirst to pursue the work of other artists and to explore how they use their skill, craft, power imagination, ethics, feelings, emotions in their pursuit of their photographic goals. A good photographer can never read too much. I don’t profess to be Sally Mann, Elliott Erwitt or David Bailey, but I have read until I have dropped to sleep with bleeding eyes and my work, when my eyes have recovered, is showing signs of developing a voice and improving.

My collective reference list is extensive and includes a number of books that I have bought and have that been read with passion and sometimes with confusion, with ideas and understanding developing through the fog, to reveal wonderfully crafted learning and points of view I have never considered. These books will now stay with me for life and I am convinced they will not be dust gathers on shelves, but will be points of references, learning and lifelong relationships that will build my own photographic voice.

I have added my first and my final assignment below as a side by side comparison. I can now see how I have evolved. They were both black and white assignments. The first  assignment was a black and white set because I simply liked black and white images, at the outset, with no apparent reasoning behind this. I still love black and white images, but I do now understand more about this way to display the images I make and the meaning and context for this colour scheme.

My first assignment  was aimed at working as a series and was a political statement from me. The images were both landscape and portrait in nature and there was no real uniformity. There was some seriality, but this was not too evident. They were also captioned, not leaving the image to stimulate the viewer and potentially closing down on interpretation. There was also a lack of people in there. This was intentional, but the piece would have benefit from the human touch.

My final assignment is also black and white, but is full of people, with studiums and punctums interspersed in each image. My two assignments are similar, in so much as they are a series on one topic, yet they are miles away in terms of what they instil and inspire in the viewer.

My current work has definitely been inspired by Sally Mann. Not so much as copying her beautiful Southern lighting, her techniques, but using her thoughts on photographing her family. The final assignment is based around my wider family (not too dissimilar to her book cited in my reference list called, My Family) and I feel have captured the love that is the centre piece of any happy family.

I have benefited greatly from the tutorials with Les. He has made me think about myself as an artist (and as a person too) and what I want to get out of the course and how to progress on to being a successful degree student. His suggested reading and the pointers to other students’ work has been cleverly thought through and taken on board. There has been invaluable guidance on how I work and what other artists to look at. It has been very interesting, eye-opening and has helped me grow.

I feel the two comparative sets below, demonstrate the strides I have made and that this insight will be a building block for me.

 

 

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Peter Freeman Gallery (Not Known) thefineartsociety.com, Available at: http://thefineartsociety.com/usr/documents/exhibitions/list_of_works_url/26/hcb-catalogue.pdf(Accessed: 05/11/16).

Peterson, D (2016) Incident vs Reflected light and which type gives you better photos, Available at: http://www.digital-photo-secrets.com/tip/3369/incident-vs-reflected-light-and-which-type-gives-you-better-photos/ (Accessed: 27/11/2016).

Petplan Ltd (Not known) Golden Retriever Facts | Dog Breeds | Petplan, Available at: https://www.petplan.co.uk/my-petplan/golden-retriever.asp (Accessed: 11/01/2017).

Photography School Speos (Unknown) Daguerre and the Invention of Photography, Available at: http://www.photo-museum.org/daguerre-invention-photo/ (Accessed: 08/10/2016).

Photography school Speos (Unknown) The Life of Nicephore Niepce, Available at: http://www.photo-museum.org (Accessed: 03/10/2016).

Purdyhicks (No known update) Tom Hunter Portfolio, Available at: http://www.purdyhicks.com/display.php?aID=10#2 (Accessed: 20/09/16).

Raffaele Montepaone (2016) LensCulture – Contemporary Photography, Available at: https://www.lensculture.com/explore/editors-pick?modal=project-295761-life (Accessed: 02/10/2016).

Rapp, A (2014) Ken Schles: A Suspension of Memory, Available at: http://stories.daylight.co/DD1316/ (Accessed: 02/10/2016).

Richards, D (2013) 10 Lighting Facts That Will Improve Your Photography | Popular Photography, Available at: http://www.popphoto.com/gallery/top-10-photography-lighting-facts-you-should-know (Accessed: 02/12/2016).

Sekonic (2016) What is the difference between incident and reflected light, Available at: http://www.sekonic.com/l-478/incident-vs-reflected.html (Accessed: 27/11/2016).

Sontag, s (2003) On Photography, 36th edn., London: Penguin.

Source (2016) What is conceptual photography, Available at: http://www.source.ie/feature/what_is_conceptual.html (Accessed: 02/10/2016).

Stansfield, A (2012) Understanding Exposure, 2nd edn., Lewes, East Sussex, United Kingdom: Ammonite Press.

Sugimoto, H (2011) Contacts vol 2 : Hiroshi Sugimoto – You Tube, Available at: https://www.youtube.com/watch?v=mcbEgEv2kUw (Accessed: 28/10/16).

Tales by Light 1 to 5, Short Films by Netflix (viewed 02/12/2016).

Tate Gallery (No known update) Keith Arnatt 1930-2008, Available at: http://www.tate.org.uk/art/artists/keith-arnatt-666 (Accessed: 20/09/2016).

Tate.org.uk (10/12/2010) Roni Horn born 1955, Available at: http://www.tate.org.uk/art/artists/roni-horn-2402 (Accessed: 20/09/16).

The Ansel Adams Gallery (2016) Home – Ansel Adams Gallery, Available at: http://anseladams.com (Accessed: 01/11/2016).

The Art Institute of Chicago (No known update) September 16th – December 3, 2006. So the story goes, Available at: http://www.artic.edu/aic/exhibitions/story/barney.html (Accessed: 20/09/2016).

The Estate of Yousef Karsh (Not known) Yousuf Karsh / Photographer / the work / portraits / pablo picasso, Available at: http://www.karsh.org/#/the_work/portraits/pablo_picasso (Accessed: 19/01/2017).

The Milkman (14/09/14) Photography 1 – P14 – Assignment One “The Square Mileâ€, Available at: https://themilkmangoestocollege.wordpress.com/2014/09/14/photography-1-p14-assignment-one-the-square-mile/ (Accessed: 20/09/16).

The Phillips Collection (2014) What is a cyanotype, Available at: http://blog.phillipscollection.org/2012/05/04/what-is-a-cyanotype/ (Accessed: 11/10/2016).

The Weston family (2016) Home – edward-westom.com, Available at: http://edward-weston.com(Accessed: 06/10/2016).

Unknown (May 2005) Fay Godwin homepage, Available at: http://www.faygodwin.com/bio.html(Accessed: 20/10/2016).

Wells, L (2011) Photography A Critical Introduction, 5th edn., London : Routledge.

Wells, L (2015) Photography A Critical Introduction, 5th edn., London, United Kingdom: Routledge.

Weston, E (1948) Edward Weston The Photographer Documentary 1948. Unknown Director via YouTube. (Accessed 11/10/2016)

Wikipedia (12/09/2016) Anna Atkins – Wikipedia the free encyclopedia, Available at: https://en.wikipedia.org/wiki/Anna_Atkins (Accessed: 11/10/2016).

Wikipedia (2016) Ezra Pound – Wikipedia, Available at: https://en.wikipedia.org/wiki/Ezra_Pound(Accessed: 07/12/2016).

Woodward, D (2012) Elliott Erwitt’s Dogs, Available at: http://www.anothermag.com/design-living/2176/elliott-erwitts-dogs (Accessed: 10/02/2017).

Yale-New Haven Teachers Institute (2001) War Photography propaganda, outrage and empathy, Available at: http://teachersinstitute.yale.edu/curriculum/units/2006/1/06.01.01.x.html (Accessed: 10/02/2017).

Reference list for Part Five

 

2.bp.blogspot (2009) Derriere la Gare Saint-Lazare | Iconic Photos, Available at: https://iconicphotos.org/2009/07/26/derriere-la-gare-saint-lazare/ (Accessed: 14/02/2017).

2.bp.blogspot (Not known) Same Mann’s three children, Available at: http://2.bp.blogspot.com/-NAfizOjAN3s/VogGmzAzgnI/AAAAAAAAAzA/r3O-Wu801VM/s1600/mann3.png (Accessed: 14/02/2017).

Aperture (2016) On Empathy 10 Powerful images from Magnum Photographers, Available at: http://aperture.org/blog/magnum-photographers-10-powerful-images/(Accessed: 10/02/2017).

Barthes, R (2000) Camera Lucida, 27 edn., London: Random House.

Bate, D (2014) Photography The Key Concepts, 2nd edn., London: Bloomsbury.

Berger, J (2008) Ways of Seeing, 20 edn., London: Penguin.

Berger, J (2013) Understanding a Photograph, 8th edn., London: Penguin.

Clarke, G (1997) The Photograph, Oxford: Oxford Univeristy Press.

Cotton, C (2015) The Photograph As Contemporary Art, 3rd edn., London: Thames and Hudson.

Erwitt, E (2014) Personal Best, Belgium: teNeues.

Erwitt, E (Not known) Elliott Erwitt, Available at: http://www.elliotterwitt.com/lang/en/(Accessed: 10/02/2017).

Faby & Carlo (Not known) What is empathy for photographers and why is it so important?, Available at: https://fabyandcarlo.com/2016/08/02/what-is-empathy/(Accessed: 10/02/2017).

Gefter, P (2013) View from a judgment seat – Aperture Foundation NY, Available at: http://aperture.org/blog/view-judgment-seat-quentin-bajac-conversation-philip-gefter/(Accessed: 12/02/2017).

Getty Images (2017) Greek Orthodox Stock Photos and Pictures , Available at: http://www.gettyimages.co.uk/photos/greek-orthodox?excludenudity=true&mediatype=photography&page=2&phrase=greek%20orthodox&sort=mostpopular(Accessed: 14/02/2017).

Jeffrey, I (2003) Photography A Concise History, 2nd edn., London: Thames and Hudson.

Kim, E (Not known) How to show empathy in street photography, Available at: http://erickimphotography.com/blog/2014/10/28/show-empathy-street-photography/(Accessed: 10/02/2017).

Lawford, M (2017) ‘Portrayal of Migrants’, British Journal of Photography, 164(7857), pp. 10-13.

Linfield, S (2012) The Cruel Radiance , 21 edn., United States of America: Chicago.

Magnum Photos (2009) Empathy and Photography, Available at: https://www.magnumphotos.com/theory-and-practice/empathy-photography/?utm_source=fb-social&utm_campaign=Editorial_EmpathyandPhotography&utm_medium=social&utm_content=Linkpost(Accessed: 10/02/2017).

Magnum Photos (2014) Magnum Photos Photographer Portfolio, Available at: https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=2K1HRG672062#/CMS3&VF=MAGO31_10_VForm&ERID=2K1HRG672062&FRM=SubHeaderFrame:MAGO31_13(Accessed: 14/02/2017).

Magnum Photos (2016) Conditions of the Heart on Empathy and Connection in PhotographyEmpathy in Photography, Available at: https://www.magnumphotos.com/events/event/square-print-sale-conditions-heart-empathy-connection-photography/ (Accessed: 10/02/2017).

Magnum Pro (2017) Empathy and Photography, Available at: https://www.magnumphotos.com/theory-and-practice/empathy-photography/?utm_source=fb-social&utm_campaign=Editorial_EmpathyandPhotography&utm_medium=social&utm_content=Linkpost(Accessed: 06/02/2017).

Mann, S (2014) Immediate Family, Italy: aperture.

Merriam Webster (2014) Distance | Definition, Available at: https://www.merriam-webster.com/dictionary/distance (Accessed: 06/02/2017).

Merriam Webster (2017) Empathy | Definition, Available at: https://www.merriam-webster.com/dictionary/empathy (Accessed: 06/02/2017).

O’Hagan, S (2011) Worlds apart: who has the best shot , Available at: https://www.theguardian.com/artanddesign/2011/dec/07/deutsche-borse-prize-photography-2012 (Accessed: 14/02/2017).

Pantall, C (2016) Empathy in Photography, Available at: http://colinpantall.blogspot.co.uk/2016/11/empathy-in-photography.html (Accessed: 10/02/2017).

Sontag, s (2003) On Photography, 36th edn., London: Penguin.

Wells, L (2011) Photography A Critical Introduction, 5th edn., London : Routledge.

Woodward, D (2012) Elliott Erwitt’s Dogs, Available at: http://www.anothermag.com/design-living/2176/elliott-erwitts-dogs (Accessed: 10/02/2017).

Yale-New Haven Teachers Institute (2001) War Photography propaganda, outrage and empathy, Available at: http://teachersinstitute.yale.edu/curriculum/units/2006/1/06.01.01.x.html (Accessed: 10/02/2017).