Assignment 2 Tutor Feedback and Reflection

I have received my tutor’s feedback on assignment 2. It is included below along with my comments, reactions and reflections. The assignment was submitted on 14th February and the feedback was received back on the 2nd April. I have quite obviously covered a lot of ground in the intervening 6 weeks so a number of feedback comments have been overtaken by events.

” Overall Comments

Again this was another strong submission Steve, including a diverse range of imagery from the Turks and Caicos Islands.

 The issues raised in the previous report are as follows:

  • Further consider the Monochrome versus Colour debate
  • Look at the work of Josef Koudelka in particular relation to image composition.

I can see you have responded very well to this feedback and enjoyed reading about your thoughts on Koudelka (and here and here and here) posted on the blog.

Feedback on assignment

This was a strong series of images Steve, which took the opportunity to develop a themed body of work via a place already full of visual interest.  From a technical perspective I couldn’t really see much wrong with the way in which you construct an image IE: Composition / focus / exposure etc. I do think some worked better than others in my opinion … I’d guess others would have a different opinion though. ”

A Combination of Vertical and Horizontal Lines

Fig. 01 – A Combination of Vertical and Horizontal Lines (Fig. 4 from submission)

” The imagery that stood out for me was as follows: Fig. 4 – Ruined Mansion at Emerald Point. ”

Distinct Shapes

Fig. 02 – Distinct Shapes (Fig. 10 from submission)

” Fig. 10 – Cruise Ship Through Ruin ”

Rhythm

Fig. 03 – Rhythm (Fig. 13 from submission)

” Fig. 13 – Bottles.  This was not to say the other imagery didn’t answer the brief, but just these images stood out for me with the beer bottle on the left of the first step of fig. 04 being the ‘Punctum’ for me personally. “

Response

The “cruise ship through ruin” always felt like one of the strongest images because it had so many graphic design elements to go with the colour and the juxtaposition of the cruise liner on a perfect sea with the ruined building.

I can see why the bottles in fig 13 attracted particular attention as the subject was odd, I felt that this image was the nearest I came to capturing the unusual hidden in full view and, as I said in my submission, it made me feel that I could have created a more interesting set if I had “found” William Eggleston and Stephen Shore before, rather than after the trip. I believe that my subsequent study of Eggleston, Shore, Ray-Jones and Parr have helped me improve my observation skills and become more alert to potential subjects.

It is interesting that “The Ruined Mansion at Emerald Point” appealed and why it appealed. The beer bottle was the special feature for me as well and the sense of something very normal having happened here in the recent past made the ruin more intriguing as it has moved from a millionaire’s holiday retreat to a ruin and appeared to now have a role as a place for someone to sit and drink beer but instead of throwing the bottle onto the piles of rubbish they had carefully placed it on the step.. 

” I thought the idea of exploring this island was already ahead of the game in terms of visual interest. Many of these assignment submissions come in and do not really leave any kind of comfort zone. That is not to say that a series of images must be shot in an exotic location to be of interest … probably the opposite actually, once you scrape the surface.  I did find that the images that intrigued me the most made reference to an area of abandonment or former glory IE: Fig 04 or Fig 10. I think this might have been the theme to explore as many of these relatively new tourist locations have a hidden or unseen past to explore, with deep significance. “

Response

I am in total agreement and the idea that developed on location was exactly that. I initially wanted to bring together a combination of ruins, abandonment, new developments,  the degeneration of new and old and the restored and unrestored historic colonial buildings to paint a picture of flawed progress. However, and I see this as the fundamental challenge of these assignments, instead of selecting 15 images that told this story I had to find 15 images that told this story and “ticked off” the various design elements. In editing I had to choose between the story, the strongest images and exhibiting the design elements and these objectives were often mutually exclusive.

To satisfy my own need for the story I pursued three themes in parallel. I looked for the design elements, I worked towards a study of degeneration  and looked for ways to document the islands without producing a cliché ridden travel guide. (here and here)

In a few cases the three objectives intersected and where that happened I captured the strongest images in the submission. I didn’t want to shoehorn in an image that fitted the theme of the series when it was a weak answer to the design criteria but I also felt uncomfortable broadening the series to include images that fitted the criteria but were not as strong in terms of the theme.

I do not intend to use this as an excuse to ignore the assignment or to argue that my work would have reached great heights if only I had not been constrained of the assignment. The test is to present strong images, tell the story and meet the criteria. However, I am close to completing my shoots for assignment 3 and know that the images collected so far are tending to place theme above the perfect completion of the assignment criteria so only time will tell whether that is a step in the right direction in terms of feedback and assessment.

Implied Triangle

Fig 04 – Implied Triangle The Conch Fisherman

” I also liked the action portrait of the Conch fisherman, but felt this might have worked better if it had been shot deliberately, with collaboration, in a setting where the background gave significance or context to the image. “

Response

Point taken and accepted. I took half a dozen pictures of this chap and whilst he was willing to chat about his trade and was quite friendly I’m not sure whether I could have tempted him to collaborate. The resident population, or “belongers” as they call themselves, are not especially comfortable with tourists who presumably might be called  “unbelongers”. I recently watched the excellent Bill Nighy drama “Turks and Caicos” and the point was made there that the locals just clean up after rich tourists. 

But, back to the point. I could have used one of the following shots of the same man as these contain far more context but de-power the design element but this does raise another issue which I struggled with when editing the series. In his feedback to assignment 1 my tutor suggested that I should not mix the aspect of my prints, i.e. do not mix horizontal aspect and vertical aspect prints in the same submission. I subsequently used the OCA forum to ask whether this was the general view. The tutors on the forum did express the same view so all of assignment 2 was presented as horizontal aspect prints.

I am still struggling with this inferred rule. Whilst I recognise that the majority of photo books have a consistent format there are many examples where the occasional vertical or square aspect is included in a book of horizontal aspect prints. I also noted that David Bailey did not feel constrained in his Stardust Exhibition where he mixed vertical and horizontal on the same wall or where he created photo montages of related prints in single frames that included square, vertical and horizontal.

If I had not felt bound by this inferred rule I would have used 2 or 3 vertical prints including fig. 05 below.

Fig. 05 Conch Fisherman - 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 05 Conch Fisherman – 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 06 Conch Fishermen - 1/500 at f/8, ISO 100. 50mm prime lens

Fig. 06 Conch Fishermen – 1/500 at f/8, ISO 100. 50mm prime lens

” When you look at a series of images and one makes you stop, this can be referred to in terms of what Roland Barthes would call ‘Studium’ or a general enthusiasm or interest assigned to an image. This is as opposed to something that might be classed as a rare detail or piercing moment of either pain or delight, which Barthes would term ‘Punctum’.  I have listed a publication below by Barthes entitled Camera Lucida, which I urge you to read in relation to developing your photographic critical position.

Learning Logs or Blogs/Critical essays

The Blog is working very well for you and you appear to be updating it regularly, which is excellent. It is very easy to navigate and contains some really strong and diverse research, which is excellent at this stage of the degree. Just check the spelling of the ‘Bibliography’ link.

Suggested reading/viewing

Parr, M.2004:Think of England. London. Phaidon Press Ltd.  (see follow up work here)

ISBN-13:978 – 0714844541

Eggleston, W.2002: William Eggleston’s Guide. New York. MOMA Press  (see follow up work here)

ISBN-13: 978-0870703782

Shore, S.2004: Uncommon Places. London. Thames & Hudson  (see follow up work here and here)

ISBN-13: 978-0500542873

Barthes, Roland.1993: Camera Lucida. Vintage Classics. London. (see follow up work here)

ISBN 13: 978-0099225416

Response

I also felt that leading into assignment 3 was the right time to explore Martin Parr. I have seen extracts from “Think of England” in Val William’s book on Martin Parr and have ordered “Think of England” but it is currently out of stock at Amazon. I have completed a review of “The Last Resort” (here) and although my choice of subject for assignment 3 is quite a long way from Parr’s style his approach has helped me understand the key role that observational skills play in photography.

 In his feedback on assignment 1 my tutor suggested that I start to research the banal and this of course quickly led me to William Eggleston and the new colour movement. I have already completed my shoots for assignment 2 when I received this advice but I have spent a lot of time researching Eggelston (here and here) and that led me to Stephen Shore and Uncommon Places (here) and ultimately to Tony Ray-Jones (here) and Martin Parr (here)

” Pointers for the next assignment

Apologies about the late response regarding this feedback, as I note you already have looked at some of these practitioners in relation to assignment 3. Anyway ….. please use the following to inform assignment 03 – Martin Parr, William Eggleston and Stephen Shore. Parr is a well known Magnum Photographer, so it may also serve you well to try and become acquainted with what the Magnum Photo Agency [http://www.magnumphotos.com] is all about. The other two [Eggleston & Shore] are very important American photographers especially in relation to the use of ‘Colour Photography’.

Eggleston in particular is cited as being the photographer who introduced the art world to Colour Photography, with his ground breaking exhibition at MOMA in New York in 1976.  Prior to this, most serious photography had been monochrome.

Lastly, regarding work already conducted on assignment 3 – in relation to reflections / portraits, please see the work Tom Wood conducted from Merseyside buses in the 1980’s called ‘All Zones Off Peak’.

I hope this is of help to you Steve and I look forward to your next assignment.

Response

Very helpful pointers and I sense that Parr, Eggleston and Shore are ideal influences at this stage. I have used the Magnum site extensively as it bypasses the frustrations of general image searches on the internet where separating the wheat from the chaff is laborious and frustrating.  Magnum has two massive advantages, they are all photographers at the top of their profession and the site has a powerful search engine so it is very easy to focus in on a single topic across many practitioners. They also provide a historical and contemporary cross section of styles so it is possible to find very different approaches to the same subject.

I will certainly look into Tom Wood, I did see some of his work when I helped take a school party to London last year but I will now search out images from “All Zones Off Peak”. It is too expensive to buy a copy as it is currently showing on Amazon at £165.

Overall Reflective Comments

I would obviously have been happier if more of the submission images had made the “short list”, 4 out of 15 seems a poor hit rate, but looking back on the submission six weeks down the track I fully accept that they were not all strong enough and, if I was to assess them now I would have only added 1 or 2 more to the “short list”. As mentioned above, I feel the key is to ensure the theme and what I want to say is given priority over ticking off the assignment criteria and I need to push further out to test where this takes me. 

There are a lot of lessons to be learnt from my tutor’s remarks and whilst I have collected plenty of test shots and have some potential final images for assignment 3 there is still plenty of time to use his guidance to good effect. 

Eggleston, Shore, Ray-Jones and Parr are influencing the way I observe but I am not seeing a clear influence coming through in my photos. There are fleeting glimpses of the way they see and capture the world in a some very isolated examples of the pictures I have taken in the last month so hope still springs eternal. I would have given myself a better chance of showing their influence more directly if I had chosen a different subject for assignment 3 as I have not come across many reflections or mannequins in their work.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s