Assignment 3: Response to Tutor Comments

I was extremely pleased with Keith's response to my third assignment as (following his last comments) I tried to move away from a purely descriptive approach to what I was trying to achieve and concentrate more on ideas and influences that are informing my work. I must admit that I was concerned I had gone too far toward the other end of the scale and was glad that Keith felt I was heading in the right track.

I agree with Keith's sentiment that much can be gained by exploring what is on our doorstep and this is a project I intend to continue to explore in my photographic personal projects. The effect I was hoping to achieve with the images was that there was more gong on below the surface and the comments show I have been successful in this aim. An unexpected result of this assignment was that I really enjoyed converting the images to black and white and I think the power of monochrome images is something I will continue to explore.

Unlike assignment two which caused much angst I found this assignment much more straightforward. On reflection I guess this is for a number of reasons: because I had a definite deadline I needed to work to having had to ask for an extension on the assignment I knew I had to focus my efforts to complete. Procrastination was not an option here and having a clear idea of what I was setting out to achieve helped focus my efforts.  

Assignment 3 - Tutor Comments

Overall Comments

Many thanks for submitting this third assignment Michael, which contained some really strong monochrome images.

Key issues mentioned in my last report are as follows:

• Try to be a little more reflective in terms of the contextual element of the assignment, rather than descriptive.
• Look at the work of Harry Callaghan / Tom Hunter / Nicky Bird.
• Consider what Barthes says in relation to Studium & Punctum.
• Always try to consider composition as a way of personal expression within an image.
• Further consider the monochrome versus colour debate.
• Try to make reference to which practitioners are informing your own practice within the contextual element of the submission.

I can see from your submission that you are responding very positively to much of the feedback suggestions provided, which is excellent.  I enjoyed reading the first written section of the submission which was making all the right noises as far as I am concerned …. much less about ‘how’ and much more about ‘why’.

Feedback on assignment

There was an element of the written component that actually touches on the next assignment (Real or Fake) which was interesting to see.  (Also consider the work of Robert Capa / Dorethea Lange etc.)

These ten images worked really well for me and I thought as a themed body of work they achieved the objective you set out with, in terms of the visual exploration of your local area.  It is often a myth really to think that the best photostory’s happen in exotic places …. You will find that once you scrape the surface locally, interesting things begin to be revealed.

I think you should have a real confidence in the photographic work you are producing, which in my opinion is visually quite challenging and tends to avoid the more obvious and stereotypical.  This was a body of work that gripped my attention from the outset, with various compositional elements and decisions adding visual intrigue to the work.  From a technical perspective, there wasn’t anything I could really comment upon that bothered me, or got in my way of viewing the work.  The first shot for instance didn’t just present an untidy back yard … there were all kinds of subtle framing within framing going on here.  IE: The pegs framed by the windows, the gate way framing the yard, the chaotic angles of the pipes etc etc  … this was well observed in my opinion …. many would have just walked straight past !

Each shot had something interesting hidden within it, such as the bricked up door or the weeping wall with the vent.  The shots felt well balanced to me, especially the final shot of the back alley way. I liked the way this shot had been constructed; with just enough horizontal road in the foreground to lead you into the vertical road in the background … I liked the position of the circular grid and the telegraph pole etc.  The punctum for me is that remaining embedded white lintel in the shot of the wall with drainpipe.  This was a simple shot but very effective …. highlighting an opening which is no longer required, but which has served as an access point to the property for decades in the past. Conduct some research into the term ‘Genus Loci’ and its application within photographic practice, I think you might find this of interest to your work.

Learning Logs/Critical essays

The blog is working very well for you and is being updated  – which is great to see.  You have a number of different sections which can lead the viewer straight to what they are looking for … which will make things easier for the assessor in terms of navigation.

Suggested reading/viewing

Evans, W.2013. American Photographs. Tate Publishing. London

ISBN-13: 978-1849761284

Joshua Cooper, T.2004.Point of No Return. Haunch of Venision.

ISBN-13: 978-0954067199

Davis, Pete.1997: Cader Idris – Soul of a Lonely Place. University of Wales School or Art Press.

ISBN-13: 978-1899095087

Conclusions and targets for next assignment

I’d really like to see you continue to read around the subject matter and cite references to theory that supports and underpin your practice. You will learn plenty from looking at the work of others … especially the more notable figures in the history of the discipline.

I’ll look forward to receiving your next submission Michael - ‘Real or Fake’

Tutor name:	Keith W Roberts
Date	28/04/2014
Next assignment due	July 2014

Assignment 2 - Response to Tutor Comments

Generally I am very pleased with my tutors comments for this assignment, overall I think Keith recognises I needed a little encouragement to put some of my self doubt at bay and reassurance that I am on the right track. His comments about how I need to use the work of others as inspiration rather than letting it put me off and question my own work rings very true and seems very obvious now that I have a little distance from this assignment. Currently I feel much more assured of what I am doing and I am making good progress through the course - I am starting to enjoy the journey and the learning that comes with that more. Somehow I think the angst I went through trying to complete this assignment has been ultimately a good thing - although I would not want to go through that again!

Keith's comment about some of my writing being too descriptive in terms of technical weighting and not focusing enough on concept is something I thought myself and I will attempt to remedy this going forward. Interestingly, I made a conscious effort to do this in my write up for assignment 3 which was submitted before I received this feedback. I am curious to know whether this approach works or not as I fear I may have gone too far and not included enough technical information.

Keith's recommendations for further study are very welcome, even if he does invoke the dreaded Barthes! I have had 'Camera Lucida' on my shelf for some time and have not quite felt strong enough to tackle it. I mentioned this to Keith in an email to him and he responded by saying that although 'Camera Lucida' is a "bit prickly" in places it is worth reading if only take away a small percentage; advice I will endeavour to take.

It is interesting that two of the photographers mentioned take a high concept approach to their photography which suggests Keith is pushing me towards developing this approach myself. Tom Hunter I am already aware of (indeed it was the concept of his series 'Living in Hell' in which he uses stories he has found in newspapers as the basis for his photographs while also referencing famous art works) while Nicky Bird is new to me although I find her exploration of Julie Margaret-Cameron's work by recreating her work with Cameron's ancestors an interesting one. Harry Callahan is a photographer I know a little about from various photography books but not someone whose work I am particularly familiar, again, I will make a conscious effort to study his work in more depth.